Deceniju i po nakon kraja rata, gradovi, selo i pejza

poinju se obnavljati. Diljem Bosne i Hercegovine, od

Mostara do Banje Luke, od Sarajeva do Brkog, izgraeni
okoli svjedoi o tome kako se ivot nastavlja.

Knjiga sadri 115 projekata koji otkrivaju panoramu

suvremene arhitekture u Bosni i Hercegovini i,
indirektno, ono to oni zastupaju u smislu drutva i
zajednice, drugim rijeima, kako arhitektura pomae u
oblikovanju poslijeratne Bosne i Hercegovine, to moe
biti vieno kao totum pro parte za teme navedene u
knjizi: identitet, zajednica, privatnost i drutvo.

Uredio/priredio/ Hans Ibelings, s prilozima Ivana trausa

i Mladena Jadria.

A decade and a half after the end of the war, city, village
and landscape are starting to recover. All over Bosnia and
Herzegovina, from Mostar to Banja Luka and from Sarajevo
to Brko, the built environment testifies to how life is
resuming.

This book contains 115 projects that reveal a panorama of

contemporary architecture in Bosnia and Herzegovina and,
indirectly, what they stand for in terms of society and
community, in other words, how architecture is helping to
shape post-war Bosnia and Herzegovina, which can be seen
as a totum pro parte for the themes that are addressed
here: identity, community, privacy and society.
RESTART
ARHITEKTURA U BOSNI I HERCEGOVINI
Edited by Hans Ibelings, with contributions by Ivan traus
and Mladen Jadri. ARCHITECTURE IN BOSNIA AND HERZEGOVINA
1995-2010

Inside cover front

 Predgovor
Preface
impresum Promjenom dravnog ureenja i drutveno-ekonomskih odnosa u Bosni i
Hercegovini, u periodu poslije rata od 1995. do 2010. godine, stvaraju se
cip preduslovi za ponovno otpoinjanje graditeljskog ciklusa. Ove promjene,
pored ostalog, dovode i do privatizacije bankarskog sektora u Bosni i
Hercegovini, koji znaajnije poinje nansirati privatne investicije. Ta
injenica otvara put uspostavljanju potpuno novih drutvenih vrijednosti na
koje znaajno utjeu arhitektonska djelatnost i uloga arhitekte u drutvu
openito.
Radi vjerodostojne valorizacije arhitekture i rada arhitekata u periodu od
1995. do 2010. godine Asocijacija arhitekata u Bosni i Hercegovini
pokrenula je aktivnosti na pripremi knjige Restart Arhitektura u Bosni i
Hercegovini 1995-2010.
Cilj ove knjige je sagledati savremenu bosanskohercegovaku arhitektonsku
scenu i njenu poziciju u odnosu na regionalni i evropski kontekst. Pored
ostalog, ova knjiga treba doprinijeti razvoju savremene arhitektonske misli i
promoviranju strunih i profesionalnih organizacija u cilju to kvalitetnijeg
upravljanja prostorom, kao jednim od najpotentnijih resursa savremenog
drutva.
Imajui u vidu univerzalnu vrijednost arhitekture, kao i njen znaaj za
drutvo, a uzimajui proteklih petnaest godina kao referentan period za
sagledavanje njenog razvoja, uloga selektora povjerena je Hansu Ibelingsu,
uglednom holandskom i evropskom kritiaru arhitekture. Na taj nain
omoguen je preduslov za neovisan, autorski teorijsko-analitiki osvrt na
recentnu arhitekturu u Bosni i Hercegovini.
Autorski rad Hansa Ibelingsa na selekciji projekata kritiki preispituje
stvarnu poziciju arhitekture u Bosni i Hercegovini i njen kvalitet u odnosu na
savremenu arhitektonsku scenu danas.
Za selekciju je prijavljeno 380 projekata nastalih u periodu proteklih 15
godina. Selektor je odabrao 115 projekata, koji su prezentirani u ovoj knjizi.
2 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010
The new political organization of Bosnia and Herzegovina and the countrys
changing socio-economic relations since the war ended in 1995 have made it
possible to start a new cycle of construction. These changes have included the
privatization of the countrys banking sector, which has freed up funds for
private investment. This in turn has paved the way for the emergence of
entirely new social values, greatly inuenced by architecture and the role of
architects in society as a whole.
With a view to according appropriate value to architecture and the work of
architects between 1995 and 2010, the Architects Association of Bosnia and
Herzegovina has decided to produce a book entitled Restart - Arhitektura u
Bosni i Hercegovini 1995-2010.
The aim of the book is to provide an overview of the current architecture scene
in Bosnia and Herzegovina and where it stands in the regional and European
context. It should contribute to the development of current architectural
thinking and to the advancement of trade and professional organizations with
a view to the efcient management of space, one of modern societys most
important resources.
Given the universal value of architecture and its importance for society, and
taking the past fteen years as the reference period for an overview of its
recent evolution, the role of selector has been entrusted to the highly-regarded
Dutch architecture critic Hans Ibelings, whose Europe-wide experience enables
him to provide an independent theoretical and analytical overview of the
current architecture scene in this country.
Hans Ibelings selection offers a critical examination of the true position of
architecture in Bosnia and Herzegovina and its quality by comparison with the
contemporary architecture scene.
A total of 380 designs produced during the past fteen years were submitted
for selection. Of these, the selector chose 115, all of which are represented in
this book.
3
 Sadraj
Contents

PREDGOVOR
PREFACE

RESTART
HANS IBELINGS

ARHITEKTURA
BOSNE I HERCEGOVINE 1945-1990
THE ARCHITECTURE OF BOSNIA
AND HERZEGOVINA , 1945-1990

TIMELINE

KATALOG
CATALOGUE
Identitet
Identity

Zajednica
Community

Privatnost
Privacy

Drutvo
Society

4 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 5

 Mit je da se nakon rata moe vratiti na Stunde null ili nultu taku.
Istinski novi poetak je iluzija. Nezaobilazna je injenica da stvari vie
nikad nee biti kao to su bile, ali je jednako tano da prolost nikada
ne moe biti potpuno izbrisana. U najboljem sluaju, mogue je

Restart prikupiti razbijene komadie i zapoeti iznova.

It is a myth that after war there can be Stunde null or zero hour. A
genuinely new beginning is an illusion. It is an inescapable fact that
things will never again be as they used to be, but it is equally true
that the past can never be entirely erased. At most it is possible to
pick up the pieces and make a new start.

Hans Ibelings

Deceniju i pol nakon kraja rata u Bosni
i Hercegovini, oiljci i traume jo uvijek
su vidljivi na izgraenom okoliu.
Znaci godina borbe i razaranja vide se
posvuda. Unato tome, grad, selo i
pejza poinju se obnavljati. Brojni
arhitektonski projekti nakon 1995.
daju razloga za nadu. Akt gradnje je
nepogrjeivi znak vjere u budunost.
Arhitektura je nezamisliva bez tog
optimizma, bez ubjeenja da e svijet,
koliko god neznatno, ipak biti bolji.
Gradnja samo pojaava to uvjerenje. A,
koliko god i dalje traju brojna bolna
sjeanja, sa gradnjom se obnavlja i
ivot i ima prostora za novu
'svakodnevnost', kojoj je, u najboljem
sluaju, arhitektura jednako smislena
pozadina i pratnja.
PAUSE/FAST FORWARD
Mit je da se nakon rata moe vratiti na
Stunde null ili nultu taku. Istinski
novi poetak je iluzija. Nezaobilazna je
injenica da stvari vie nikad nee biti
kao to su bile, ali je jednako tano da
prolost nikada ne moe biti potpuno
izbrisana. U najboljem sluaju, mogue
je prikupiti razbijene komadie i
zapoeti iznova.
Osim neizrecivog ljudskog stradanja i
kolosalne materijalne tete, rat sobom
donosi i prekid graditeljskih aktivnosti
i stagnaciju kulturnog razvoja. Ali,
istovremeno, to prisilno 'zamrzavanje
gradnje' esto djeluje i kao katalizator
za razvoj ideja. Ne samo tokom rata,
kada se ba nita ne moe graditi, ve i
u ranim poslijeratnim godinama, kada
graditeljske aktivnosti tek polako
ponovno zaponu, taj preokret ideja
obino je prebrz da bi graevinci mogli
uhvatiti korak. Graevinarstvo je u
poziciji 'pauza', dok je razvoj ideja u
poziciji 'fast forward. I da ostanemo
kod ove metafore, tendencija je da se u
prvoj poslijeratnoj fazi neke aktivnosti
kreu u 'slow motionu', u odloenoj
realizaciji prijeratnih planova i
obnavljanju projekata koji su ve u
izgradnji. esto, nadalje, imamo i
'replay' prijeratnih aktivnosti.
To simultano ubrzanje i usporavanje,
to produeno prisustvo znakova
razaranja uz poetak nove gradnje
sve je to dio tranzicijskog perioda u
kojem koegzistiraju razliite brzine.
Sada, petnaest godina nakon kraja
rata, sve poinje da hvata korak i
arhitektura se, takoer, primie
normalnosti.
Normalizacija se takoer moe
razaznati, u Sarajevu, naprimjer, na
poetku ulice Zmaja od Bosne, gdje se
austrougarski dio sredita grada
sastaje sa novim dijelom grada. Ono
to se tu razvilo moe se tumaiti kao
velianje tranzicijskog perioda tokom
posljednjih petnaest godina, sa starim,
novim i obnovljenim u skladnoj
jukstapoziciji. Jo uvijek je tu oronuli
Muzej Bosne i Hercegovine, savrena
graevina arhitekata Borisa Magaa,
Ede Smidihena i Radovana Horvata, uz
jo uvijek nerazvijenu lokaciju Muzeja
savremene umjetnosti Renza Piana i
elegantni Importanne Centar Studija
Non-Stop. Malo dalje je drugi rad istih
arhitekata, Centar Alta, preko puta
obnovljenog dinaminog kompleksa
Parlamenta, autora Juraja Neidhardta i
oblinja dva mono ekspresivna rada
Ivana trausa, obnovljena nakon rata,
hotel Holiday Inn i UNIS-ovi neboderi.
Modernizam (Maga i ostali), kasni
modernizam (Neidhardt i trausov
UNIS), postmodernizam (trausov
Holiday Inn) i ono to bi se moglo
opisati kao supermodernizam (Studio
Non-Stop) stoje jedni kraj drugih. Pola
stoljea arhitekture i historije tu je
izloeno, sa svim kontinuitetima i
prekidima, i sa samo jednom zgradom

A decade and a half after the end of the
war in Bosnia and Herzegovina, the scars
and traumas are still visible in the built
environment. The signs of years of
fighting and destruction are everywhere
in evidence. Despite this, city, village and
landscape are starting to recover. The
numerous building projects since 1995
are a reason for hope. The act of
construction is an unmistakable sign of
faith in the future. Architecture is
inconceivable without such optimism,
without the conviction that the world
will, however slightly, be the better for it.
Building is a perpetuation of this
conviction. And with construction, life too
resumes, however many painful
memories remain, and there is room for
a new everydayness with, in the best
cases, architecture as a meaningful
backdrop and entourage.
PAUSE/FAST FORWARD
It is a myth that after war there can be a
Stunde null or zero hour. A genuinely
new beginning is an illusion. It is an
inescapable fact that things will never
again be as they used to be, but it is
equally true that the past can never be
entirely erased. At most it is possible to
pick up the pieces and make a new start.
Apart from untold human suffering and
colossal material damage, war also
causes an interruption to building
activities and stagnation in cultural
developments. By the same token, the
enforced building freeze often acts as a
catalyst for the development of ideas.
Not just during a war, when nothing at
all can be built, but even in the early
post-war years, when building activities
are only slowly picking up again, the
turnover of ideas is usually too rapid for
construction to keep up. Construction is
in the pause position while ideas
development is in fast forward mode.
And to stay with this metaphor, in the
first post-war phase, there is a tendency
for some activities to play out in slow
motion, in the delayed realization of pre-
war plans, and the resumption of
projects that were already under
construction. All too often, moreover,
there is a replay of pre-war practices.
The simultaneous acceleration and delay,
the prolonged presence of the signs of
destruction alongside the start of new
constructions they are all part of a
transitional period in which various
speeds coexist. Now, fifteen years after the
end of the war, everything is starting to
get back into step and architecture, too, is
approaching normality.
Normalization can be discerned, for
example, in Sarajevo, at the beginning of
Zmaja od Bosne Street, where the
Austro-Hungarian part of the city centre
meets the new city. What has developed
there can be construed as a
magnification of the transitional period
of the last fifteen years, with old, new
and renewed in amicable juxtaposition.
There is the still dilapidated Museum of
Bosnia and Herzegovina, a consummate
building by Boris Magas, Edo Smidihen
and Radovan Horvat, next to the still
undeveloped site of Renzo Pianos
Museum of Contemporary Art, and Studio
Non Stops stylish Importanne Centar. A
little further along is another work by
the same architects, the Alta Centar,
opposite Juraj Neidhardts restored
dynamic parliamentary complex, and
nearby two powerfully expressive works
by Ivan traus that have been revitalized
since the war, the Holiday Inn hotel and
the UNIS skyscrapers. Modernism (Magas
et al.), late-modernism (Neidhardt and
trauss UNIS), postmodernism (trauss
Holiday Inn) and what could be
described as supermodernism (Studio
Non Stop) stand side by side. Half a
century of architecture and history is on
display here, with all the continuities
and interruptions and only one building

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 Rei da je Bosna i Hercegovina oduvijek poznavala veliku kulturnu To say that Bosnia and Herzegovina have always known great cultural
raznolikost moda znai i izrei neto to je sasvim oigledno, ali to diversity may be stating the obvious, but that does not make it any
ne umanjuje istinitost ove tvrdnje. Bez elje da poriemo less true. Without wishing to deny the problematical aspects and
problematine aspekte i bez namjere da ignoriramo injenicu da je without ignoring the fact that diversity is less self-evident since the
raznolikost sama po sebi manje oigledna nakon nedavnog rata, tu recent war, there exists a cultural multiformity,
uistinu postoji kulturalna multiformnost.

na kojoj se rat jo uvijek vidi.
Diljem Bosne i Hercegovine, od Mostara
do Banje Luke, od Sarajeva do Brkog,
izgraeni okoli svjedoi o tome kako se
ivot nastavlja, kako se stvari vraaju u
normalu, kao i o injenici da se ne nosi
samo teret rata, ve da je ponovo
mogue da svakodnevnica bude u
prvom planu.Idealistiki megaprojekti i
grandiozne ambicije da se promijeni
svijet tu su odsutni i to nije veliki
gubitak, zato to se ta pretencioznost
rijetko pokae dobrom za arhitekturu i
drutvo. Ono to se gradi u Bosni i
Hercegovini na poetku dvadeset i
prvog stoljea nije arhitektura koja
mijenja svijet; u najboljem sluaju, to je
arhitektura koja praktino, estetski i
funkcionalno dopunjuje svijet kakav
jeste.
PIONIRSKI ARHITEKTONSKI RADOVI
Rekonstrukcija graevina ide paralelno
sa obnovom drutva i zajednice, a
arhitektura moe pritom biti i proizvod
i proizvoa.
Arhitektura je jedna spora profesija i
obino postoje godine jaza koji dijeli
namjeru da se gradi i ostvarenje
gradnje. Isto vai i za Bosnu i
Hercegovinu, gdje je bilo relativno malo
nove gradnje izmeu 1995. i 2000.
godine, ali je u godinama koje su
uslijedile dolo do postojanog porasta
aktivnosti gradnje.
Nain na koji se vratio taj zamajac
arhitekture usporediv je sa onim to se
desilo u bivoj Istonoj Njemakoj
nakon preokreta i ponovnog
ujedinjenja, u drugim zemljama
Istonog bloka nakon pada njihovih
komunistikih reima kao i u
nezavisnim bivim sovjetskim
republikama. Nigdje tranzicija iz
komunistikog u postkomunistiko
drutvo nije osloboena zastoja i
prepreka. Bosna i Hercegovina je
morala da se nosi ne samo sa
prijelazom iz planske u
slobodnotrinu ekonomiju, ve i sa
ogromnim zadatkom poslijeratne
obnove i rekonstrukcije. Ipak, iroko
govorei, tu je vidljiv isti proces kao i u
drugim bivim komunistikim
zemljama. U novim okolnostima
pojavili su se isti tipovi gradnje, poput
pionirskih zgrada na lokacijama koje
su postale pusta zemlja nakon
socijalnih nemira. Ti pionirski
arhitektonski radovi
postkomunistikog drutva su
benzinske pumpe, saloni automobila,
barovi, restorani, prodavnice i
supermarketi, ukratko, mahom
relativno manja komercijalna
infrastruktura u kojoj mogu cvjetati
privatna inicijativa i poduzetnitvo.
Nakon tih pionira uslijedila je
generacija koju ine vei komercijalni
projekti poput banaka, poslovnih
zgrada, trgovakih centara i
spekulativnih stambenih zgrada
(luksuznijih) koje zapravo ine
protivteu jednostranom stambenom
fondu socijalistike ere. Trea faza,
koja je evidentna ve neko vrijeme u
veini postkomunistikih zemalja, sada
se pojavljuje i u Bosni i Hercegovini.
Nakon to su popravljene tete na
privrednoj infrastrukturi, panja i
resursi se okreu javnoj infrastrukturi,
to svjedoi o opreznim ambicijama da
se izgrade nove biblioteke, muzeji,
sportski centri, pozorita i zgrade
obrazovnih ustanova, kao i prelazak na
transformaciju javnih prostora i
obnovu urbanizma u procesu razvoja
novih urbanih tipologija.
RAZNOVRSNOST
Rei da je Bosna i Hercegovina
oduvijek poznavala veliku kulturnu
raznolikost moda znai i izrei neto
to je sasvim oigledno, ali to ne

in which is the war still clearly visible.
All over Bosnia and Herzegovina, from
Mostar to Banja Luka and from Sarajevo
to Brcko, the built environment testifies
to how life is resuming, how things are
returning to normal, to the fact that not
only is the burden of the past being
borne, but that it is once again possible
for the everyday to come to the forefront.
Idealistic mega projects and grandiose
ambitions to change the world are
absent and that is no great loss, because
those kinds of pretensions rarely turn out
well for either architecture or society.
What is being built in Bosnia and
Herzegovina at the beginning of the
twenty-first century is no world-
changing architecture; at most it is an
architecture that makes practical,
aesthetic and functional amendments to
the world as it is.
ARCHITECTURAL PIONEER PLANTS
The reconstruction of the built
environment runs parallel with the
reconstruction of society and community,
of which architecture can be both the
product and the producer.
Architecture is a slow profession and
there is usually a gap of many years
separating the intention to build and
the realization. So also in Bosnia and
Herzegovina, where there was relatively
little new construction between 1995
and 2000, but where the years since
have seen a steady rise in construction
activity.
The way momentum has returned to
architecture is comparable to what
happened in the former GDR after the
peaceful revolution and reunification, in
other East Bloc countries after the fall of
their respective communist regimes, and
in the independent, ex-Soviet republics.
Nowhere was the transition from
communist to post-communist society
free of hitches and obstacles. Bosnia
and Herzegovina has had to cope not
only with the switch from a centrally
planned to a free-market economy, but
also with an enormous post-war
reconstruction and repair task.
Nonetheless, broadly speaking the same
process is visible as in other former
communist countries. In the new
circumstances, the same building types
emerged, like pioneer plants on sites
that had become wasteland in the wake
of the social upheavals. The
architectural pioneer plants of the post-
communist societies are petrol stations,
car showrooms, bars, restaurants, shops
and supermarkets, in short, all the
relatively small-scale commercial
infrastructure in which private initiative
and enterprise can blossom. These
pioneers are followed by a generation
that is made up of larger commercial
projects such as banks, office buildings,
shopping malls, and speculative
(upmarket) apartment buildings that
provide a counterweight to the one-
sided housing stock of the socialist era.
A third phase, which has been evident
for some time in most post-communist
countries, is now starting to emerge in
Bosnia and Herzegovina. After repairing
the damage to the economic
infrastructure, the focus of attention and
resources is now turning to public
infrastructure, witness the as yet
cautious ambitions to construct new
libraries, museums, sporting facilities,
theatres and educational buildings, as
well as moves to transform public
spaces and the revival of urban planning
in the development of new urban
typologies.
DIVERSITY
To say that Bosnia and Herzegovina have
always known great cultural diversity
may be stating the obvious, but that
does not make it any less true. Without

8 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 9

 Arhitektura Bosne i Hercegovine, i Balkana openito, zasluuje
ozbiljniji interes od postmodernistikog kulturalnog relativizma koji
potie takozvana 'balkanologija'.
umanjuje istinitost ove tvrdnje. Bez
elje da poriemo problematine
aspekte i bez namjere da ignoriramo
injenicu da je raznolikost sama po
sebi manje oigledna nakon nedavnog
rata, tu uistinu postoji kulturalna
multiformnost koja ukljuuje i
arhitekturu, bez obzira na to koliko
danas moe biti iscjepkana kultura u
Bosni i Hercegovini.
Na izvjestan nain evropska umjetnost
i arhitektura poslije devetnaestog
stoljea su manje ili vie multiformnog
karaktera, ali je u zemlji poput Bosne i
Hercegovine to jae izraeno nego
drugdje. ak i neko ko dolazi izvana,
wishing to deny the problematical
aspects and without ignoring the fact
that diversity is less self-evident since
the recent war, there exists a cultural
multiformity, including in architecture,
however fragmented architectural
culture in Bosnia and Herzegovina may
be nowadays.
In a way, European art and architecture
since the nineteenth century has always
had a more or less multiform character,
but in a country like Bosnia and
Herzegovina that was even stronger
than elsewhere. Even an outsider can
see that apart from all the individual
differences between architects, there are
10 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
moe vidjeti da, uz sve individualne
razlike meu arhitektima, postoje i
velike regionalne i kulturalne razlike.
Arhitektura, ukljuujui savremenu
arhitekturu, razlikuje se u Banja Luci
od one u Mostaru, a ona u Zenici
drugaija je od one u Brkom.
SELEKCIJA
Raznovrsnost je takoer evidentna u
selekciji koju sam izvrio meu 380
radova vie od 100 projektnih timova.
To je dijelom diktirano razlikama u
porijeklu i orijentaciji, ali takoer, kao i
uvijek, generacijskim razlikama. Kao
also big regional and cultural
differences. The architecture, including
contemporary architecture, is different in
Banja Luka than in Mostar and in Zenica
different than in Brko.
SELECTION
Diversity is also evident in the selection
I have made from the 380 entries by
more than 100 design teams. It is partly
dictated by differences in origin and
orientation but also, as always, by
generational differences. Just as every
generation has a musical preference,
formed in the years of adolescence and
IN BIH 1995-2010
to svaka generacija ima muzike
sklonosti, koje se formiraju u drugaije je od onoga to se danas
godinama adolescencije i mladosti,
tako i svaka generacija arhitekata ima
svoj vlastiti referencijalni okvir i
vlastite sklonosti, koje, mada nisu
nepromjenjive, ostaju trajna odrednica
tokom njihovog kasnijeg
profesionalnog razvoja.
Povrh toga, svaka arhitektura je
takoer prepoznatljiva za svoje
vrijeme. Svako vrijeme ima vlastiti
otisak prsta koji se mijenja svakih
deset ili dvanaest godina.
Arhitektonski trend 1990-ih razlikuje
se od onog oko 2000. godine, a ono
young adulthood, so every crop of
architects has its own frame of reference
and own preferences which, though not
immutable, remain an anchor during
subsequent professional development.
On top of that, every architecture is also
recognizably of its time. Every age has
its own fingerprint, which changes every
ten or twelve years. The architectural
trend of the 1990s differs from that of
around 2000, and what was built ten
years ago is different again from what is
being built today. In Bosnia and
Herzegovina there are also projects that
were delayed by the war, and for that
reason there are also one or two
The architecture of Bosnia and Herzegovina, and of the Balkans in
general, deserves a more serious interest than the postmodernist
cultural relativism perpetrated by so-called Balkanology.
to je bilo izgraeno prije deset godina
gradi. I u Bosni i Hercegovini ima
projekata ija je realizacija bila
odloena zbog rata i stoga u ovoj
selekciji imamo jedan ili dva primjera
radova iz kasnih 1980-ih godina.
Selekcija se temelji na onom to je
dostavljeno na poziv Udruenja
arhitekata Bosne i Hercegovine. Nisu
svi arhitekti od ugleda i konsekvenci
bili spremni dostaviti svoj rad i zato
Zlatko Ugljen, da spomenem
najpoznatijeg od odsutnih, nije
zastupljen u ovoj selekciji.
instances of the late 1980s in this
selection.
The selection is based on what was
submitted, at the invitation of the
Association of Architects of Bosnia and
Herzegovina. Not every architect of
reputation and consequence was
prepared to submit work, which is why
Zlatko Ugljen, to mention the best-
known of the absentees, is not
represented in this selection.
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
BEZ BALKANOLOGIJE
bujnu prponost, ali esto rezultira i
Prilikom izbora nastojao sam pomiriti
nekoliko aspekata. Kao prvo, elio sam
napraviti jedan velikoduan izbor
radova koji se istiu u pozitivnom
smislu svojim arhitektonskim
kvalitetom, ali i kulturalnim i
socijalnim ambicijama i namjerama
koje otkrivaju.
U mnogim zemljama June Evrope (a
za Balkan se kae da tu pripada)
postoji uz formalnu, oficijelnu
arhitekturu i jedan paralelni
univerzum, uglavnom poluzakonite
neformalne arhitekture. Svako malo, ta
NO BALKANOLOGY
In making my choice, I have tried to
reconcile several considerations. Firstly, I
wanted to make a generous selection of
work that stands out in a positive sense
because of the architectural quality and
the cultural and social ambitions and
intentions it reveals.
In many countries in southern Europe
(and the Balkans have a reputation to
maintain in this respect), there exists
alongside the formal, official
architecture a parallel universe of
mostly semi-legal, informal architecture.
Every now and then, this informal
IN BIH 1995-2010
neformalna arhitektura proizvodi
objektima, koji su prosto deprimirajui.
Taj paralelni univerzum, koji je postao
poznat kao 'turbo-folk' i 'balkanologija',
u skorije vrijeme privlai poprilinu
panju svijeta, ak vie od oficijelne
arhitekture. Ova publikacija
predstavlja odgovarajuu protivteu
toj jednostranoj panji prema
arhitekturi koja, po rijeima arhitekte i
kritiara Edwina Gardnera, pristaje na
turizam intelektualne katastrofe, tu
perverznu formu zabave pri kojoj vam
je dozvoljeno da buljite koliko vam
volja u jad i emer drugih ljudi, a da se
architecture produces an exuberant
cheerfulness, but often it results in
buildings that are quite simply
depressing. This parallel universe, which
has come to be known as turbofolk and
Balkanology, has recently attracted
more than its fair share of international
attention, and more even than the
official architecture. This publication is
a fitting counterweight to that one-sided
attention to architecture that, in the
words of the architect and critic Edwin
Gardner, lends itself to intellectual
disaster tourism, a perverse form of
entertainment whereby you get to stare
all you want at other peoples misery
11
 Mislim, ili se bar nadam, da ova selekcija daje utisak vrijednosti I think, or at least hope, that this selection gives an impression of the
poslijeratne arhitektonske kulture, kulture koja je u mnogo emu merits of a post-war architectural culture, a culture that in many
morala biti iznova zapoeta, morala pohvatati konce, osvojiti novi respects had to begin all over again, had to pick up the thread, break
prostor, to je i uinila na jedan intrigirajui nain. new ground, and has done this in an intriguing manner.

ne morate s tim suoavati u svome
svakodnevnom ivotu. Takvi oblici
graevina nisu zanimljivi kao
arhitektura, nisu ak ni kao izvor
arhitektonske inspiracije; u najboljem
sluaju su zanimljivi kao socioloki ili
antropoloki fenomen. Arhitektura
Bosne i Hercegovine, i Balkana
openito, zasluuje ozbiljniji interes od
postmodernistikog kulturalnog
relativizma koji potie takozvana
'balkanologija'.
Drugo, meu najboljim prijavljenim
radovima, traio sam meusobne veze
kako bi ova prezentacija bila vie od
prostog nizanja individualnih
projekata. Nastojao sam otkriti i
primijeniti jedan osjeaj koherentnosti
grupiranjem projekata i njihovim
slaganjem pod istim naslovom.
Nijedan projekat nije bio odbijen zato
to ne uklapa u kategorije koje su
nastajale u procesu rada, ponajvie
zbog toga to su kategorije ve
sadravale povezane ili sline projekte vrlo skoranje fenomene moe biti
za koje sam smatrao da su ubjedljiviji.
Odabrani projekti otkrivaju panoramu
savremene arhitekture u Bosni i
Hercegovini i, indirektno, ono to ti
projekti predstavljaju u pogledu
drutva i zajednice, odnosno, drugim
rijeima, kako arhitektura pomae u
oblikovanju poslijeratne Bosne i konce, osvojiti novi prostor, to je i
Hercegovine, to bi se moglo doivjeti uinila na jedan intrigirajui nain.
kao totum pro parte za teme kojima se irina i raznovrsnost je ono to tu
ovdje bavimo: identitet, zajednica, kulturu ini zanimljivom. Unato
privatnost i drutvo. raznovrsnosti, pomalja se jedna
zajednika slika koja se najbolje moe
Svako rjeenje koje neki kritiar ili opisati kao 'mjeavina'. Tipino, tu je
historiar primjenjuje na savremene ili nekoliko projekata koji su usvojili
radikalnu poziciju, bilo da su
samo privremeni snimak stanja. Ako je konceptualno radikalni, ili formalno
zaista tako, onda se radi o rezultatu radikalni. Nema mnogo arhitekture u
utakmice nakon prvog poluvremena.
Bosni i Hercegovini koja ide do
Kad to kaem, mislim, ili se bar nadam, ekstrema, koja iskuava granice
da ova selekcija daje utisak vrijednosti
arhitekture. Jednostavno objanjenje
poslijeratne arhitektonske kulture, moglo bi biti to to za to ne postoje
kulture koja je u mnogo emu morala
sredstva niti uslovi, ili, barem da zasad
biti iznova zapoeta, morala pohvatati
ne postoje. Ali to moe imati i dublje
korijene.
Sve mjeavine tee biti harmonine, a
ne bogate kontrastima, one su prije
srodne, nego krute. I mada bi primjena
te karakterizacije na svaki pojedinani
rad znaila pretjerano uopavanje, to
je ipak ono to me je najvie dojmilo u
arhitekturi u Bosni i Hercegovini.
To podvlai do koje mjere ovdanji
arhitekti idu svojim vlastitim putem.
Oni tek djelomino idu ukorak sa
meunarodnim trendovima i
tendencijama. U mnogim evropskim
zemljama arhitektura je primarno
manje-vie ista. I bez elje da govorim
u kategorijama egzoticizma, to je
mnogo manje sluaj u Bosni i
Hercegovini. Naravno, i ovdje ima
dobrih i loih imitatora meunarodne
mode, ali ini se da veina arhitekata,
usprkos svim dominantnim
trendovima, izraava vlastiti stav,
artikulira svoj vlastiti svijet. Zbog toga
je mogue nai graevine i projekte u
Bosni i Hercegovini koje su sasvim
drugaije od onog to se drugdje moe
vidjeti, a u doba globalizacije i rastue
homogenizacije to nije nebitna
vrijednost.

without having to be confronted with it
on a daily basis. Such forms of building
are not interesting as architecture, or
even as a source of architectural
inspiration; at best as a sociological or
anthropological phenomenon. The
architecture of Bosnia and Herzegovina,
and of the Balkans in general, deserves
a more serious interest than the
postmodernist cultural relativism
perpetrated by so-called Balkanology.
Secondly, within the top echelon of
entries, I have looked for
interconnections so that this
presentation would be more than a
mere succession of individual projects. I
have tried to discover and to apply a
sense of coherence by grouping projects
and arranging them under the same
heading. No projects were rejected
because they did not fit into the
categories that arose as I worked, at
most because the category already
contained related or similar projects
that I found more convincing.
The selected projects reveal a panorama
of contemporary architecture in Bosnia
and Herzegovina and, indirectly, what
they stand for in terms of society and
community, in other words, how
architecture is helping to shape post-
war Bosnia and Herzegovina, which can
be seen as a totum pro parte for the
themes that are addressed here: identity,
community, privacy and society.
Every arrangement a critic or historian
applies to contemporary or very recent
phenomena can be no more than a very
provisional snapshot. If this is indeed
the state of play, it is of necessity no
more than a half-time score. Having said
that, I think, or at least hope, that this
selection gives an impression of the
merits of a post-war architectural
culture, a culture that in many respects
had to begin all over again, had to pick
up the thread, break new ground, and
has done this in an intriguing manner.
Its very breadth and variety is what
makes this culture interesting. Despite
the diversity, there emerges a common
image which is best described as a
mixture. Typically, there are few projects
that adopt a radical position, whether
that be conceptually radical or formally
radical. There is not a lot of architecture
in Bosnia and Herzegovina that goes to
extremes, that seeks out the limits of
architecture. A simple explanation might
be that the means and conditions are
not there, or at any rate not yet. But it
could have deeper roots.
All mixtures tend to be harmonious
rather than rich in contrasts, congenial
rather than hard. And although it would architects seem, in defiance of all the
be a gross generalization to apply this dominant trends, to express their own
characterization to each individual work, view, to articulate their own world.
it is what strikes me most about the Because of this it is possible to find
architecture of Bosnia and Herzegovina. buildings and projects in Bosnia and
Herzegovina that are quite unlike what
It underscores the extent to which is happening elsewhere, and in the age
architects here go their own way. They of globalization and attendant
are only partially in step with homogenization that is not an
international trends and tendencies. In insignificant merit.
many European countries architecture is
above all more of the same. And without
wishing to speak in terms of exoticism,
that is much less the case in Bosnia and
Herzegovina. Here, too, of course there
are good and bad imitators of
international fashions, but most

12 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 13

 Ponovnim ujedinjenjem svih prostora Jugoslavije po zavretku Drugog
svjetskog rata 1945. godine, drutvenim sistemom utemeljenim na
ideolokom programu Komunistike partije, koja je bila organizator
ARHITEKTURA pokreta otpora, provedena je teritorijalna podjela drave u kojoj je
Bosna i Hercegovina postala jedna od est administrativno
BOSNE I HERCEGOVINE samostalnih republika Socijalistike Federativne Republike
Jugoslavije.

1945-1990 With the reunification of Yugoslavia in 1945, at the end of World War
II, and the introduction of a social system based on the ideological
THE ARCHITECTURE OF BOSNIA AND HERZEGOVINA, 1945-1990 programme of the Communist Party, which had been the driving force
of the resistance, the state was divided into the six independent
socialist republics of the Socialist Federal Republic of Yugoslavia.

Akademik Ivan traus, arhitekt / Academician Ivan traus, architect

Ponovnim ujedinjenjem svih prostora
Jugoslavije po zavretku Drugog
svjetskog rata 1945. godine, drutvenim
sistemom utemeljenim na ideolokom
programu Komunistike partije, koja je
bila organizator pokreta otpora,
provedena je teritorijalna podjela drave
u kojoj je Bosna i Hercegovina postala
jedna od est administrativno
samostalnih republika Socijalistike
Federativne Republike Jugoslavije. Kraj
minulog rata i osloboenje Bosna i
Hercegovina je doekala razorena i
osiromaena, sa skromnim brojem
arhitekata za obiman posao obnove i
izgradnje industrijskih pogona,
prometne infrastrukture, objekata
zdravstva, obrazovanja i kulturnih
djelatnosti, te krajnje urgentne izvedbe
objekata kolektivnog stanovanja. U svim
planskim dokumentima hitnog razvoja
socijalistikog drutvenog ureenja
uloga arhitekata je bila prioritetna.
Nije to bilo pogodno vrijeme za razvoj
stvaralake arhitektonske misli na
naem tlu. Pa ipak, ve nakon par godina
primjetna su uspjela djela kao rezultat
ili pojedinih arhitekata sa reputacijom iz
predratnih godina moderne i jo uvijek
prisutnim stvaralakim nemirom ili
pojedinaca iz reda mladih generacija
koji su osjetili da je doao kraj njihovom
nestrpljenju i da je trenutak da iskoriste
ansu. Dodatni motiv
bosanskohercegovakim arhitektima da
iskau stepen svojih stvaralakih
mogunosti i poznavanja zbivanja na
svjetskoj arhitektonskoj sceni bio je
raskid s nametnutim obavezama
proizalim iz socrealistikih dogmi u
umjetnosti bloka komunistikih zemalja
sa istoka Europe.
Vrijeme diktata u arhitekturi ex-
Jugoslavije zavrilo je bre nego to je
uspjelo pustiti dublje korijenje. Sve se
zavrilo sa naznakama kratkotrajne
zablude, zbunjenosti ili poslunosti na
desetak javnih objekata u Bosni i
Hercegovini. Visoki predratni renome i
evropsko obrazovanje u Pragu, Beu,
Minhenu i Parizu sarajevskih arhitekata
D. Smiljania, brae M. i R. Kadia, J.
Neidhardta, I. Reisa, M. Baylona i drugih
odigrali su znaajnu ulogu jo prije
desetak godina u borbi sa recidivima
eklektike, folklornih reminiscencija i
favoriziranog akademizma u arhitekturi,
pa i sad u odbijanju diktata i oponaanja
uzora iz vlastite arhitektonske povijesti.
Zato nekoliko izvedenih objekata tih
godina, poglavito u Sarajevu, nose
primjetan peat predratne moderne ili
oblikovne detalje koji podsjeaju na Le
Corbusierov likovni vokabular.
Najreprezentativnije djelo nastalo u tim
godinama (1947) jest stambeni ansambl
na padinama Didikovca u Sarajevu,
arhitekata obrazovanih u Pragu, brae M.
Kadi i R. Kadi.
U godinama tzv. hladnog rata u
odnosima zapadne i istone Europe, koje
su se nesretno vezale sa prethodnim
ratnim godinama, bosanskohercegovaki
arhitekti su imali blijede slike i krte
informacije o velikim dometima znaajnih
velikana toga vremena: Le Corbusiera,
Miesa van der Rohea, F. L. Wrighta, Arnea
Jacobsena, Saarinena, Bakeme i drugih.
Poetak pedesetih godina obiljeavaju
arhitekti Bosne i Hercegovine Z. Kovaevi,
M. Peteri, H. Redi, A. iin-ain i drugi
svojim uspjenim natjeajnim idejama i
zrelim ostvarenjima, a J. Neidhardt
prvonagraenom idejom za Narodnu
skuptinu BiH u Sarajevu 1955. godine
dodatno pobuuju zapaen interes
strunih krugova tadanje Jugoslavije.
Daljnji uspjesi arhitekata Sarajeva na
velikim natjeajima na prostoru
Jugoslavije, kao i dvije prve nagrade na
internacionalnim konkursima u Addis
Abebi 1964. godine i u glavnom gradu
Bugarske Sofiji za zgradu Opere 1973.
godine jaali su ugled najmlaeg
arhitektonskog kruga koji e vrlo brzo
ravnopravno stati uz centre sa duom
tradicijom i snanijim strunim
potencijalom Ljubljanu, Zagreb i

With the reunification of Yugoslavia in
1945, at the end of World War II, and the
introduction of a social system based on
the ideological programme of the
Communist Party, which had been the
driving force of the resistance, the state
was divided into the six independent
socialist republics of the Socialist Federal
Republic of Yugoslavia. Liberation and the
end of the war left Bosnia and
Herzegovina on its knees economically,
with few architects to cope with the
immense task of reconstruction and the
construction of industrial plants, road and
rail communications, health care,
education and cultural facilities and, most
urgent of all, the provision of housing in
the form of blocks of flats. The role of the
architect was foremost in every planning
document dealing with the urgent
development of the socialist polity.
This was not a time conducive to the
development of creative architectural
thinking in this country. Despite this, after
only a few years some fine works began to
emerge, the result either of individual
architects whose reputation was based on
pre-war modernism and still motivated by
the creative urge, or of architects of the
younger generation who sensed that their
impatience could to be rewarded by
seizing the moment. Another opportunity
for Bosnia and Herzegovinas architects to
express their creative potential and brothers Muhamed and Reuf Kadi, Juraj
awareness of developments in the global Neidhardt, Isa Reiss and Mate Baylon, had
architectural scene came with the break already had a significant impact some ten
with the imposed demands of social realist years previously in combating the
dogma and the art of the Eastern Bloc of recidivism of eclecticism, folklore-type
communist countries. references and the preference for
academism in architecture, and now
The diktat in the architecture of ex- helped to reject the diktat and imitation of
Yugoslavia came to an end before it had models from their own architectural
been able to put down roots, ending in history. A number of buildings dating
Bosnia and Herzegovina with the signs of from this period, especially in Sarajevo,
short-term delusion, confusion or therefore bear the unmistakable stamp of
subservience in a dozen or so public pre-war modernism or of formal details
buildings. The considerable reputation reminiscent of Le Corbusiers formal
and European training in Prague, Vienna, vocabulary. The most representative work
Munich and Paris of architects from of these early post-war years is the 1947
Sarajevo such as Duan Smiljani, the housing complex on the slopes of
Didikovac in Sarajevo, designed by the
Kadi brothers, who had trained as
architects in Prague.
During the Cold War years between the
West and Eastern Europe, harking back so
infelicitously to the war years, Bosnia and
Herzegovinas architects had only vague
notions and meagre information on the
great achievements of the great architects
of the period, such as Le Corbusier, Mies
van der Rohe, Frank Lloyd Wright, Arne
Jacobsen, Eliel Saarinen and Jacob
Bakema. In the early 1950s, architects
from Bosnia and Herzegovina, among
them Zdravko Kovaevi, Milivoj Peteri,
Husref Redi and Andrija iin-ain, with Ljubljana, Zagreb and Belgrade, cities with
their successful competition designs and
mature creations, and Juraj Neidhardt,
with his 1955 winning design for the
National Parliament of Bosnia and
Herzegovina, aroused considerable interest
in Yugoslav professional circles.
The continuing success of Sarajevos
architects in major competitions in
Yugoslavia, together with two winning
entries at international competitions in
Addis Ababa in 1964 and Sofia, capital of
Bulgaria, for the Opera House in 1973,
further enhanced the reputation of the
new generation of architects, which would
soon find itself on an equal footings with

14 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 15

 Beograd. Tome su umnogome pomogli
industrijski razvoj Bosne i Hercegovine u
sklopu visoke stope industrijskog rasta
Jugoslavije, otvaranje Arhitektonsko-
urbanistikog fakulteta u Sarajevu i sve
ee direktno upoznavanje
zapadnoeuropskih arhitektonskih repera
kao to je bila posjeta znaajnoj berlinskoj
izlobi Interbau 1957. godine. Izvedeni
objekti/eksponati izlobe Le Corbusiera,
Alvara Alta, Waltera Gropiusa, Oscara
Niemeyera i drugih najprominentnijih
stvaralaca svijeta tih godina svojim
Prava serija izuzetnih ostvarenja
zapoela je izvedbom atraktivnog hotela
Pelegrin na dubrovakoj rivijeri u
Kuparima 1962. (D. Finci), objektima
Filozofskog fakulteta i Privredne komore
BH oba u Sarajevu, a kreendo je
dostignut izgraenim ansamblom
Kulturno-sportskog centra Skenderija
1969. godine (. Jankovi i H.
Muhasilovi), kakav je prvi put izgraen
u ex-Jugoslaviji.
Veoma znaajan period u rastu i razvoju
Sarajevu 1984. godine. Prostorno-
oblikovna kompozicija Narodne
skuptine i Izvrnog vijea BiH u
Sarajevu, zgrada Narodnog pozorita u
Zenici, Spomen-dom u Jablanici,
Regionalni medicinski centar u Banjoj
Luci, poslovna zgrada Elektroprivrede BiH
i Klinika za ginekologiju i akuerstvo
obje u Sarajevu, hoteli Rua u Mostaru i
Bregava u Stocu te Bijela damija u
Visokom, za koju je njen autor Z. Ugljen
dobio Nagradu Aga Kahn, pretapaju se
sa izvedbom objekata u funkciji Zimske
Inn, zgrada urednitva sarajevskog
dnevnika Osloboenje, kao arhitektonska
djela koja su trajno obiljeila
neponovljive olimpijske dane u
Sarajevu. U postolimpijskim godinama
zavreni su objekti Traumatoloke
klinike u Sarajevu, hotel Kalin u Bugojnu,
rekreativni centar Zenit u Neumu te
Poslovni centar UNIS u Sarajevu.
Pored ve nabrojanih arhitektonskih
ostvarenja sedamdesetih i osamdesetih
godina te objekata za potrebe
Hercegovine, odnosno objekti kojima se
na najljepi mogui nain zavrava
Periklova doba arhitekture u Bosni i
Hercegovini, vrijeme od 1945. do 1990.
godine. To su tri trgovako-sportska
objekta: u Splitu, Hrvatska, Gripe (.
Jankovi), u Novom Sadu, Srbija,
Vojvodina (. Jankovi i B. Buli), i u
Pritini, Kosovo, Boro i Ramiz (. Jankovi
i H. Muhasilovi), te Muzej avijacije na
beogradskom aerodromu Surin nakon
dvadeset godina od javnog
jugoslavenskog natjeaja 1969. godine
ex-Jugoslavije nije nametao dravna,
ideoloka, ni nacionalna ogranienja,
moramo priznati izuzetan osjeaj za
arhitekturu zasnovanu na premisama
europskih tendencija a bez osvrtanja ili
oponaanja specifinosti ranijih slojeva
graditeljskog nasljea. Kao neizbrisiv
trag takvog odnosa drutva u razvoju
prema arhitektima/graditeljima u Bosni i
Hercegovini su zapaene arhitektonske
vrijednosti stvaralaca s njenog tla.
* Znatno ire o djelovanju arhitekata u Bosni i Hercegovini od
1945. do 1990. godine u kronikama:

funkcionalizmom, racionalizmom i
internacionalnim izrazom uinili su
primjetan pozitivan utjecaj na sarajevske
arhitekte.
bosanskohercegovake arhitekture su
sedamdesete i osamdesete godine, kada
su izgraeni i objekti za uspjeno
odravanje Zimskih olimpijskih igara u
olimpijade: sportska dvorana sa
ledenom povrinom Zetra za 8.000
gledalaca, nova zgrada sarajevskog
aerodroma, hoteli Igman, Vuko i Holiday
Olimpijade, panju i nevjericu
jugoslavenske javnosti i strunih
krugova privukli su izvedeni javni
objekti izvan teritorije Bosne i
(I. traus).
Drutvenom sistemu u vremenskom
rasponu od 55 godina, koji arhitektima
- Ivan traus, Arhitektura Bosne i Hercegovine 1945-1995,
Oko, Sarajevo, 1996.
- Ivan traus, 99 arhitekata sarajevskog kruga,
ahinpai i ANUBiH, Sarajevo, 2010.

a longer tradition and greater professional
opportunities. They also received a
considerable boost from the industrial
development of Bosnia and Herzegovina as
part of the industrial boom in Yugoslavia as
a whole, the opening of the Faculty of
Architecture and Urban Planning in
Sarajevo, and their growing direct
knowledge of western European
architecture, such as the visit to the
Interbau exhibition in Berlin in 1957. The
functionalism, rationalism and international
style of the buildings and designs of Le
Corbusier, Alvar Aalto, Walter Gropius, Oscar
The first series of outstanding works
began with the construction of David
Fincis Pelegrin Hotel in Kupari on the
Dubrovnik riviera in 1962, and the Faculty
of the Humanities and the Chamber of
Commerce in Sarajevo, culminating in the
Skenderija Cultural and Sports Centre in
1969, the work of ivorad Jankovi and
Halid Muhasilovi, the first of its kind in
ex-Yugoslavia.
The 1970s and 1980s were very
important years in the development of
architecture in Bosnia and Herzegovina,
resounding success. Others were the
setting for the National Parliament and
Executive Council of Bosnia and
Herzegovina in Sarajevo, the National
Theatre in Zenica, the Memorial Centre in
Jablanica, the Regional Medical Centre in
Banja Luka, the Elektroprivreda
headquarters and the Gynaecology and
Maternity Clinic in Sarajevo, the Rua
Hotel in Mostar and the Bregava Hotel in
Stolac, and the White Mosque in Visoko,
for which the architect Zlatko Ugljen won
the Aga Khan Award for Architecture. A
number of buildings are associated with
the Igman, Vuko and Holiday Inn hotels,
and the headquarters of Sarajevos daily
newspaper Osloboenje: all are works of
architecture that stand as a permanent
reminder of those unrepeatable Olympic
events in Sarajevo. A number of buildings
were also completed in the post-Olympic
years: the Trauma Clinic in Sarajevo, the
Kalin Hotel in Bugojno, the Zenit
recreation centre in Neum, and the UNIS
Business Centre in Sarajevo.
The buildings of the 1970s and 1980s
and the Olympic buildings were not alone
buildings beyond the borders of Bosnia
and Herzegovina, three designs that
formed the perfect conclusion to the
Periclean age of architecture in Bosnia
and Herzegovina, the years from 1945 to
1990. The buildings in question are three
commercial and sports centres, one in
Split, Croatia Gripe, designed by ivorad
Jankovi; one in Novi Sad, Serbia
Vojvodina, designed by ivorad Jankovi
and Branko Buli; and one in Pritina,
Kosovo Boro and Ramiz, designed by
.ivorad Jankovi and Halid Muhasilovi;
and Ivan trauss Aviation Museum at
One cannot but acknowledge the
outstanding feeling for architecture of this
55-year long social system, which imposed
on the architects of ex-Yugoslavia no state,
ideological or national limits, allowing
them to draw on the premises of European
trends without reference to or imitating
any specific early styles of the built
heritage. The designs of the architects of
Bosnia and Herzegovina remain
ineffaceable evidence of a developing
society to its architects and builders.
* For more on the work of architects in Bosnia and Herzegovina from
1945 to 1990, see:

with a number of major buildings, among in attracting the attention and incredulity Ivan traus, Arhitektura Bosne i Hercegovine - 1945-1995, Oko,
Niemeyer and other leading international the Zetra sports hall and skating rink built Belgrades Surin Airport, built twenty Sarajevo, 1996
designers of the time had a markedly them the facilities built for the 1984 for the Winter Olympics, with seating for of the Yugoslav public and professional years after the open competition in 1969. Idem, 99 arhitekata sarajevskog kruga, ahinpai and Academy of

positive impact on Sarajevos architects. Winter Olympics in Sarajevo, which were a 8,000: the new Sarajevo Airport building, circles; they also included other public Arts and Sciences of Bosnia and Herzegovina, Sarajevo, 2010

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 Ova je ruta za promatraa, kao moda nijedna druga pokretna slika
Bosne i Hercegovine, dokumentarni film u kojem se oaravajuci
prirodni pejzai smjenjuju sa slikama ekolokog kriminala, poput
onog rijeke Bosne plastificirane naslagama polyethylenskih
otpadaka.
UVOD U ARHITEKTURU This is a route for the observant unlike any other moving picture of
Bosnia and Herzegovina, a documentary film in which landscapes of
BOSNE I HERCEGOVINE great beauty alternate with the evidence of crimes against the
environment, such as the River Bosna choked by layer upon layer of
INTRODUCTION TO THE ARCHITECTURE plastic litter, and images of mediaeval hilltop forts encircled by
OF BOSNIA AND HERZEGOVINA cloned family homes missing their faades.

Mladen Jadric, Arhitekt / Architect

Od kraja rata nebrojeno sam puta putovao
automobilom u Bosni i Hercegovini preko
sjevera zemlje. Prijelaz preko rijeke Save i
putovanje do Sarajeva i danas mi nudi
simbolike slike koje umnogome oslikavaju
njenu sloenu stvarnost.
Neke sekvence su nepromijenjene jo od
zavretka rata zastarjela, dijelom naputena
industrijska postrojenja, gazdinstva i
grafitima ispisane kue. Usputne pijace
podsjeaju dijelom na one opisane u
putopisima o svilenom putu iz srednje Azije.
Prolazak kroz razliite entitete razlikuje se
manje po nazivima lokalnih firmi, vie po
smjeni irilinog i latininog pisma, sada
zvonici veinski dominiraju okolicom, poslije
ih smijene munare.
Ova je ruta za promatraa, kao moda
nijedna druga pokretna slika Bosne i
Hercegovine, dokumentarni film u kojem se
oaravajui prirodni pejzai smjenjuju sa
slikama ekolokog kriminala, poput onog
rijeke Bosne plastificirane naslagama
polietilenskih otpadaka. Srednjovjekovni
gradovi na brdima opkoljeni su kloniranim
obiteljskim dvokatnicama bez fasade.
Arhitektura odmorita i benzinskih pumpi
poput one koju poznajem samo jo iz
animacija kompjuterskih igara zasluila bi
zasebnu fenomenoloku studiju. Na kraju
ovog uvijek uzbudljivog puta skoro vas
iznenadi poetak autoceste s kojim uplovite
u metropolitsko Sarajevo.
Elementi i prvog i treeg svijeta, sekvence u Nosilac ovih promjena je generacija
kojima za trenutak prepoznajete slike Istoka, mladih arhitekata iji su radovi i
pa Zapada, a snani kontrasti jo su vie najreprezentativniji za promjene nastale
pojaani njegovom nenadmanom zadnjih godina. Poslije destrukcije
topografijom. izazvane ratom desio se upgrade na tri
nivoa: smjena generacija, stvaranje novog
NO BEAUTY, NO STYLE, WILLIAM ALSOP organizacijskog okvira i stizanje
tehnikog zaostatka graevinskom
Prilog publikaciji je subjektivan i
apstinencijom. Smjena generacija i
ogranien na komentar tendencija u
postupno popunjavanje arhitektonske
graditeljskoj praksi, uz uproten opis
scene u meuvremenu stasalim
konteksta u kojem djeluje poslijeratna
arhitektima primjetna je u izrazu.
bosanskohercegovaka arhitektonska
Tehniko znanje, opremljenost kola i
scena. Petnaest godina prekratka je
struke u meuvremenu ne zaostaju za
vremenska distanca za donoenje
onim u razvijenom svijetu. itav niz
konanih sudova i klasifikaciju razliitih
odabranih projekata mladih kolega
fenomena i procesa, uopeno nazvanih
dokazuje sigurnost u baratanju novim
tranzicija.
alatima i metodama oblikovanja.
Nema vladajue definicije dobrog ili
lijepog, niti vladajueg stila kojim bi se
mogao pojednostaviti opis kompleksne
bosanskohercegovake arhitektonske
sadanjosti.
NOVA DRUTVENA STVARNOST
Dvadeset godina poslije raspada
jugoslavenske federacije i
jednopartijskog socijalistikog
drutvenog sistema, dananja je Bosna i
Hercegovina sastavljena od Federacija
BiH, Republike Srpske i Distrikta Brko,
koji je pod meunarodnom upravom.
Procesi donoenja odluka, izrade,
odobravanja planova, kao i financiranje
gradnje postali su viestruko sloeniji.
Bosna i Hercegovina je Dejtonskim
sporazumom postala drava sastavljena
od dvaju entiteta i specijalnog Distrikta
Brko. U Bosni i Hercegovini veina
stanovnitva se definira kroz tri nacije, tri
religije i tri konstitutivna naroda. Kako EU
direktno utjee na provoenje mirovnih
ugovora, Bosna i Hercegovina de facto
nije potpuno samostalna u donoenju
svojih odluka. Veliki utjecaj na politike
odluke vri meunarodna zajednica kroz
svog visokog predstavnika u Bosni i
Hercegovini ili pak kroz direktnu kontrolu
nad Distriktom Brko. Ovaj politiko-
ekonomski projekt ideje o trgovanju
umjesto ratovanja nasljednik je uvene
pijace Arizona, koja se danas nalazi u

I have driven down from the north into
Bosnia and Herzegovina countless times
since the war ended. As I cross the River
Sava and drive on down to Sarajevo I still
see the symbolic images of its complex
reality. Some havent changed since the
war obsolete, semi-derelict factories and
farms, and houses covered in graffiti. The
roadside markets bring to mind travel
writers descriptions of the bazaars along
the Silk Road through Central Asia. The
entities are distinguished less by the
names of local companies than by the
change from Cyrillic to Latin script, or by
the preponderance of church towers
followed by minarets.
This is a route for the observant unlike any
other moving picture of Bosnia and
Herzegovina, a documentary film in which
landscapes of great beauty alternate with
the evidence of crimes against the
environment, such as the River Bosna
choked by layer upon layer of plastic litter,
and images of mediaeval hilltop forts
encircled by cloned family homes missing
their faades.
The architecture of rest areas and petrol
stations, looking like something out of a
computer game, merits a phenomenological
study of its own. And at the end of the
journey, which invariably stirs the emotions,
the beginning of the motorway along which
one sails into metropolitan Sarajevo quite
takes one by surprise.
The road has something of the first world
and of the third, sequences in which images
of the East are succeeded by the West, and
vivid contrasts made still more striking by
its unsurpassed topography.
NO BEAUTY, NO STYLE, WILLIAM ALSOP
This article is subjective, and restricted to a
commentary on current trends in
architectural practice along with a much
simplified description of the context of the
post-war architectural scene in Bosnia and
Herzegovina. Too little time has elapsed
only fifteen years to allow for a definitive
assessment and classification of the various
phenomena and processes usually known as
transition.
The proponents of these changes are the
generation of young architects whose work
is the most representative of the changes of
the past few years. The ravages of war have
been succeeded by an upgrade at three
levels: the rise of a new generation, the
creation of a new organizational framework,
and the effort to overcome the technical
backlog of constructional abstinence. The
advent of the new generation and the
gradual process of supplementing the
deficiencies of the architectural scene by
now-mature architects can be recognized in
their style. Their technical know-how and
the quality of their training and
professionalism are on a par with those of
the developed world. This whole range of
selected projects by young fellow architects
is evidence of the confidence with which
they handle the new tools and methods
available to them.
There is no generally accepted definition of
what is good or of beauty, nor is there a
dominant style that might simplify the
description of Bosnia and Herzegovinas
complex contemporary architecture.
A NEW SOCIAL REALITY
Twenty years after the break-up of the
Yugoslav federation and the one-party
socialist system, Bosnia and Herzegovina
now, under the terms of the Dayton Peace
Agreement, consists of two entities, the
Federation of BiH and Republika Srpska,
plus Brko District, the latter under
international administration.
The decision-making process, the
development and approval of plans and the
financing of construction projects have
become highly complex. Dayton Bosnia and
Herzegovina is a country in which most
people define themselves as belonging to
one of three nations, three religions and
three constituent peoples. Since the EU
has a direct impact on the implementation
of the peace agreement, Bosnia and
Herzegovina is not wholly independent in
its decision-making. The international
community exercises considerable indirect
influence on political decisions through its
High Representative in Bosnia and

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 njegovom sklopu. Kako fenomenoloki
oslikava istinski Balkan, o njoj su pisane
knjige i napravljene brojne TV reportae
[Azra Akamija: Arizona Market].
Oba mjesta najbolje oslikavaju recept koji
je (zapadni) svijet smislio za rjeenje
sukoba u Bosni i Hercegovini: Make
trade, not war. Primjer Brkog stoga nije
samo poseban sluaj roen iz
nemogunosti dogovora oko ovog vanog
geostratekog centra, ve svojim
(uspjenim) primjerom treba da postane
model, te da ubrza suradnju meu
entitetima i prelazak na novo drutveno
ureenje. U Distriktu Brko, od njegovog
osnivanja do danas, usvojeno je preko
100 vlastitih zakona, koji treba da
postanu zakoni i modeli za entitete u
Bosni i Hercegovini. Nije sluajno da je
jedina visoka kola u Brkom upravo
Fakultet ekonomije. Ovi podaci
preslikavaju sloenost nastalu u
makrozajednicama i mikrozajednicama.
IZMJENE U VELIKOM MJERILU: GRAD I
INFRASTRUKTURA
Proces poslijeratne obnove nije bio
proces rekonstrukcije predratnog izgleda,
ve je rezultirao promjenom karaktera i
organizacije svih velikih
bosanskohercegovakih gradova.
Karakteristika devedesetih godina prologa
stoljea bili su meunarodni natjeaji kao
nastavak kontinuiteta predratnih tradicija u
pokuaju rjeavanja gradskih problema u
velikom mjerilu: kasarna Maral Tito,
Marijin-Dvor i Otoka u Sarajevu,
rekonstrukcija podruja bive Kasarne
Novi Grad i sl. Ovaj proces, tjeran enormno
brzim prijelazom na slobodno trite i
liberalizacijom ekonomije, smijenio je
recept gradnje arhitektonskih ikona
[iconic buldings] za koje se vjerovalo da e
poput akupunkturnih taaka aktivirati
energiju bosanskohercegovakih gradova.
Iako arhitekti nastoje napraviti
jedinstvene kreacije, itljivi su diktati
suvremenog trita u konceptima
interijera dobra infrastruktura podrava
mogunost brze i fleksibilne
reorganizacije prostora, dok su autorski
pomaci u veini sluajeva reducirani na
pitanje forme i rjeavanje fasadne opne.
NOVE SILUETE
Razvoju komercijalnih i poslovnih objekata
pogodovala su tri faktora: globalizacijski
trendovi s poetka devedesetih godina
prolog stoljea, dolazak inozemnih
investicija i jaanje lokalnog poduzetnitva.
Rezultat je ubrzana gradnja komercijalnih
sadraja i uredskih sjedita malih i velikih
firmi. Poveanje mjerila, skok cijene
zemljita i znatno zahtjevnija infrastruktura
ovih objekata natjerali su investitore da
koriste ve postojeu mreu ili da se
izmjeste na rubove gradova. U Sarajevu je
infrastruktura linearno razvijenog grada po
principu Bandstadta poslije rata
iskoritena za smjetaj veine ovakvih nakon zavretka, sa izgradnjom mosta koji
objekata.
Arhitektura ovog linijskog skylinea veim je
dijelom generika, no postoje i interesantni
autorski iskoraci koji se trude uspostaviti
dijalog s okolinom. Poslovni centar S2
[autori Lejla i Kemal Hasibovi, D.D. DOM
SPI] smjeten je iza upravne zgrade
Elektroprivrede uvenog arhitekte Ivana
trausa i reagirajui na susjednu zgradu
formira novi koncept ovog kvarta:
horizontalno spram vertikalnog, s
ekspresivnom upotrebom boja naspram
monokromatske fasade. Lejla i Kemal
Hasibovi su autori i skulpturalno rijeene
grupe poslovnih tornjeva koja e se poeti
graditi ove godine.
Sead Golo je autor Bosmal City centra, koji
je uzbudio duhove i prvi put poslije rata
proizveo intenzivnu diskusiju u javnosti o
arhitekturi i ulozi arhitekata u drutvu.
Objekt je kritiziran po dva osnova u kojima
arhitekt nije imao mogunost slobodnog
odluivanja: njegova urbanistika pozicija
[i nelogina blizina susjednim objektima] i
mjerilo. Da je smjeten na glavnoj gradskoj
saobraajnici, diskusija bi se vjerojatno
brzo stiala. Ovako, izgraen kratko nakon
rata, ini se da je okirao veinu Sarajlija,
koji su bili zateeni njegovim mjerilom i za
tadanje, poslijeratne prilike, luksuznom
opremljenou. Tek sad, nekoliko godina
primjera trgovakih centara nove
stoji na tzv. Petoj transverzali i zahvaljujui
novom kontekstu veeg mjerila grada,
slegla se praina oko ovog objekta kojim je
malezijski investitor plasirao za Sarajevo
novi tip gradskog stanovanja koncept
kondominijuma, popularnog i iroko
rasprostranjenog u svim azijskim
metropolama. Sead Golo autor je i
komercijalnog centra BBI u Sarajevu. Na
jednoj od najatraktivnijih lokacija u centru
grada realiziran je pobjedniki rad
natjeaja u kojem je autor morao ponovo
definirati karakter lokacije.
Transparentnost fasadne opne BBI centra
omoguava kvalitetne vizuelne kontakte
raznih nivoa interijera s gradskim trgom i
parkom. Ovaj velikoduno dimenzioniran
indoor prostor na koji je utroeno mnogo
kreativne energije predstavlja usamljen
primjer i uiva popularnost korisnika u
uvjetima kontinentalne klime.
Materijalizacija ove i stilistiki sline
fasade Hotela Europe obloenim drvetom
[trespa ploama] utjecala je pozitivno da
oba objekta usprkos mjerilu djeluju
nenametljivo u svom okruenju.
U satelitskim naseljima na gradskom rubu
gomilaju se objekti generike arhitekture
ili shematizirane tipologije velikih firmi.
Nasuprot njima, paljivo proporcioniran
aluminijski kubus Wisa centra autora Nine
i eljka Katalinia jedan je od pionirskih
collage city i hibridizacija sadraja je
generacije, primjeran u svom okruenju.
Vrijedno je spomenuti i rekonstrukcije
predratnih trgovakih centara, koji su
ovim upgradeom pretvoreni u suvremene
centre: Gradska trnica u Banjoj Luci
[autori Branislav Stojanovi i Dalibor
Bjelica], trni centar Merkur ispred
naselja Otoka u Sarajevu i trni centar u
Bosanskom Brodu [autori Sulejman
Midi i Adnan Drnda].
DOWNTOWN
Posebno poglavlje pripada sarajevskom
kvartu Marijin-Dvor. Ve od ezdesetih
godina Juraj Neidhardt je dijagonalnom
alejom Franza Lehara (sarajevski
Broadway) povezao glavni eljezniki
kolodvor s parlamentom. Metropolitski
karakter podaren mu je izgradnjom
Unisovih nebodera Ivana trausa. Ve
osamdesetih godina njihova ekspresivna
silueta postala je jedan od prepoznatljivih
gradskih repera. Ideja je da se na ovom
prostoru formira novi gradski centar.
Zadnjih godina, koncentracijom velikog
mjerila, Marijin-Dvor dobiva sve vie
karakter downtowna.
Kulturni i komercijalni sadraji donijet e
mu hibridnu arolikost, a edukativni i
stambeni garancija su ivotnosti. Tema
autorski rukopis koji se provlai poput
crvene niti kroz projekte grupe Non-stop
(Sanja Gali-Grozdani i Igor Grozdani):
Gradski centar Otoka kao kompaktni
gradski megablok, stambeno naselje
Milkos, i njihova posljednja realizacija
Importanne centar, koji objedinjava
urede, hotel, shopping, stanovanje i
garae. Osam poslovnih tornjeva
povezani su horizontalnim i vertikalnim,
dijelom ozelenjenim komunikacijama,
oblikujui urbani cluster. Na ovaj nain
autori su izbjegli monotoniju
samostalnog objekta, uveli dinamiku u
siluetu i optiki smanjili skok u mjerilu
izmeu centra i susjednih kulturnih i
komercijalnih sadraja. Primjerno rjeenje
detalja i kvalitete izvedbe zaokruuju
naposve pozitivan imid ove izvedbe koja
je u samom vrhu u skupini poslovno-
komercijalnih objekata u Bosni i
Hercegovini.
Importanne centar, kome su arhitekti dali
nadimak balkanski puzzle, smjeten je
uz Muzej revolucije, iju je dogradnju
projektirao Renzo Piano. Ne ulazei u

Herzegovina, and indeed direct influence in
the case of international-administered
Brko District. The politico-economic idea
of making trade not war is heir to the
notorious Arizona market, which now falls
within the District. Books have been
written and a number of TV stories have
been produced describing it as the
phenomenological expression of the true
Balkans (Azra Akamija: Arizona Market).
Both are a vivid illustration of the (western)
worlds trade not war prescription for
resolving the conflict in Bosnia and
Herzegovina. The example of Brko is not
just a special case resulting from the failure
to reach agreement over this important
geostrategic centre, but is intended to
become a (successful) model for cooperation
between the entities and the transition to a
new social system. Since Brko District was
established, it has enacted more than a
hundred of its own laws, which are intended
to become models for the two entities in
Bosnia and Herzegovina. It is no accident
that the only higher education
establishment in Brko is the Faculty of
Economics. These facts depict the
complexities that have come into being in
the macro and micro communities.
CHANGES ON THE GRAND SCALE: THE CITY
AND INFRASTRUCTURE
Post-war reconstruction has not meant
reconstructing the countrys pre-war
appearance, but has altered the very nature
and organization of all Bosnia and
Herzegovinas cities and larger towns.
The 1990s were marked by international
competitions, continuing the pre-war
tradition in an attempt to resolve urban
problems on the grand scale: the Marshal
Tito Barracks, Marijin Dvor and Otoka in
Sarajevo, the reconstruction of the former
Novi Grad barracks, and so on. This process,
propelled by an incredibly rapid transition
to the free market and liberalization of the
economy, was replaced by the recipe of
erecting iconic buildings that it was
thought would act like acupuncture points
to energize Bosnia and Herzegovinas cities.
Though architects strive to produce unique
designs, the dictates of the modern market
are clearly visible in interior design, good
infrastructure facilitates the rapid and
flexible reorganization of space, while in
most cases the designers input is reduced
to issues of form and the treatment of the
faade.
NEW SILHOUETTES
Three factors proved conducive to the
development of commercial and business
properties: the globalization of the early
1990s, the inflow of foreign investment,
and the rise of local entrepreneurship.
These led to a boom in the construction of
commercial properties and office buildings
for small companies and large corporations.
The increasing size of these buildings, the
steep rise in land prices, and the
considerably more challenging
infrastructure of these properties forced
investors to use existing networks or to
relocate to the outskirts. In Sarajevo, with
its linear-development layout, the existing
infrastructure was used after the war when Sarajevans by its scale and by what were, at
locating the majority of such properties.
The architecture of this linear skyline is
largely generic, but there are some
interesting designs where attempts have
been made to engage with the
surroundings. The S2 business centre
(designed by Lejla and Kemal Hasibovi,
D.D. DOM SPI) is located behind the
Elektroprivreda headquarters, work of the
renowned architect Ivan traus, interacting
with the adjacent building to create a new
concept for this quarter: the horizontal
versus the vertical, with the expressive use
of colour as against a monochromatic
faade. Lejla and Kemal Hasibovi also
created the sculptural design for a group of
commercial tower blocks the construction of
which is to begin this year.
Sead Golo designed the Bosmal City
Centre, which aroused strong feelings and,
for the first time since the war, prompted
often heated public debate over
architecture and the role of the architect in
society. The building has been criticized on
two grounds on which the architect lacked
freedom of decision: its location in the
townscape (and its being too close to the
adjacent buildings), and its scale. If it had
been located on the main road through the
city the furore would probably have quickly
died down. As it is, built so soon after the
war, it seems to have shocked most
large companies. In contrast, the
a time of post-war austerity, its luxurious
fixtures and fittings. It is only now, a few
years after its completion, with the
construction of the bridge on the Fifth
Transverse Road and the new larger-scale
setting, that the dust has settled around
this building, with which the Malaysian
investor introduced into Sarajevo a new
type of urban dwelling, the condominium,
which is both popular and widespread in
Asias many metropolises.
Sead Golo also designed the winning
design for the BBI business centre in
Sarajevo, which stands on one of the city
centres prime sites, the nature of which the
architect was required to redefine. The
glass-fronted BBI Centre provides plenty of
visual contact between the various levels
inside the building and the square and park
outside. This generously-sized indoor
space, on which considerable creative
energy has been expended, is an isolated
instance proving popular with the public in
this continental climate. The materials
used for this and the stylistically similar
faade of the Europa Hotel, faced with
Trespa wood-finish panels, have helped to
make both buildings less obtrusive in their
surroundings, despite their scale.
The housing estates on the outskirts of the
city are full of buildings of generic
architecture or the standardized typology of
vibrancy. The collage city concept and the
scrupulously proportioned aluminium cube
of the Visa Centre, by Nina and eljko trademark running like a thread of scarlet
Katalini, is a pioneering example of the
new generation of shopping centres, sitting
comfortably in its setting. Also of note is
the reconstruction of pre-war shopping
centres, now upgraded into modern malls:
the Central Market Hall in Banja Luka
(designed by Branislav Stojanovi and
Dalibor Bjelica), the Merkur shopping centre
by the Otoka housing estate in Sarajevo,
and the shopping centre in Bosanski Brod
(by Sulejman Midi and Adnan Drnda).
A CENTRAL BUSINESS DISTRICT
jump in scale between the centre and the
The part of Sarajevo known as Marijin dvor
deserves a section of its own. Back in the
1970s, Juraj Neidhardt used the diagonal
Franz Lehar Avenue (Sarajevos Broadway)
to link the central railway station with the
Parliament building. It was given a
metropolitan character with the erection in
the 1980s of Ivan trauss twin Unis towers,
which became one of the citys more visible
landmarks. The idea is to create a new city
centre here, and in recent years, as more
and more large-scale buildings go up,
Marijin dvor is increasingly coming to
resemble what Americans call downtown.
Cultural and commercial facilities will give
it hybrid diversity, while its education
facilities and housing guarantee its
hybridization of its facilities constitute the
through the designs of the Non-Stop group
(Sanja Gali-Grozdani and Igor Grozdani):
the Otoka Centre as a compact urban mega-
block, the Milkos housing development, and
their latest design, the Importanne Centre,
which unites offices, a hotel, shopping,
housing and garages. Eight commercial
high-rises are linked by walkways and lifts,
with level and hanging planted areas,
forming the urban cluster. The architects
have thus avoided the monotony of a free-
standing block, introducing movement into
the silhouette and optically diminishing the
adjacent cultural and business facilities.
Exemplary treatment of details and quality
of execution complete the positive image of
this project, which is at the very peak of
commercial properties in Bosnia and
Herzegovina.
The Importanne Centre, which the
architects have dubbed the Balkan jigsaw

20 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 21

 analizu uzroka propadanja, muzej
predstavlja jednu od najloijih reklama
kulturne politike Bosne i Hercegovine.
Arhitekti Maga, Smidihen i Horvat autori
su jednog od najvrjednijih arhitektonskih
djela koja grad uope posjeduje. S druge
strane, dok se svjetska scena otima za
Renza Piana i njegovo vrijeme i projekte,
Sarajevo ne uzima ozbiljno jedinstvenu
priliku da dobije potpis svjetskog
majstora i svoga poasnog graanina.
Shopping mall urbanizam doveo je i do
odumiranja klasine gradske trgovine.
Novi grad uveao je svoje mjerilo, ali time
jo vie zaotrio ovisnost o individualnom
prometu. Gradski prijevoz pritom nije
dostigao ni nivo onog predratnog, niti su
politike institucije mogle isfinancirati
njegovo proirenje. Broj automobila, koji
se u svim velikim gradovima Bosne i
Hercegocine udvostruio ve samo
nekoliko godina poslije zavretka rata,
raste neproporcionalno i dalje. Teko je
kritizirati graane zbog potrebe za
mobilitetom jer je ona osnovica nove
ekonomije, a unitena ili neadekvatna
infrastruktura naslijedila je probleme jo
iz predratnih vremena.
Preoptereena prometna infrastruktura
vidljiva je u veini
bosanskohercegovakih gradskih centara.
Iako je to prioritetan projekt za cijelu
dravu, spora izgradnja koridora Vc, koji bi
na sjeveru povezao zemlju s Evropom a
na jugu s morem, bitno usporava
ekonomski razvoj zemlje. eljeznika
mrea je kratka i iako u zadnjim
godinama ponovo postoji mogunost
putovanja i izvan zemlje ova vrsta
prometa igra malu ulogu u razvoju.
Marginalizacija znaaja eljeznikih
stanica i s time njihov utjecaj na razvoj
gradskih centara pojaana je u odnosu na
stanje prije rata. Posljedice nisu dobre ni
po ekologiju drave.
PJEAKE ZONE I JAVNI GRADSKI
PROSTORI
Revitalizacija ili projektiranje novih
pjeakih zona doivjeli su novi zamah u
urbanom planiranju starih gradskih jezgri.
Klijenti su obino opine ili gradovi, a
realiziraju se rjeenja izabrana putem
natjeaja. Golema popularnost koju uivaju
pjeake zone, poput obnovljene Ferhadije
u Sarajevu ili pjeake zone s Trgom
slobode u Tuzli, donosi veliku satisfakciju
svima ukljuenima u revitalizaciju javnog
prostora. Dominira atmosfera juga, u kojoj
su javni prostori i kafane ljeti i zimi
zamjena za dnevni boravak. Poevi od
malog mjerila, arhitektura interijera ovih
ulica bila je prvi znak obnove i novog
ivota. Iako kratkog vijeka i esto
realizirana uz minimalne budete, ta
arhitektura je predstavljena kroz vrlo
ivotnu paletu adaptacija. Interesantni su
primjeri poput Pizzerie Fratelli [autori: N.
Hrelja, J. Hadimei, E. Hasei]
parazitarna gradnja u kojoj arhitekti
koriste volumene gradskih pasaa i
upljina (tzv. Baulcken) za smjetaj
privremenih objekata.
Arhitekti koriste projekte pjeakih zona i
za korekcije urbanog okruenja. Tako Trg
Krajine u Banjoj Luci [autori Mihailo Lujak
i Dalibor Bjelica] eli usmjeriti poglede
prema Katelu i prolaznicima ponuditi
urbani spektakl, lustgarten, dinaminom
upotrebom elemenata svjetla i vode. U
projektu Luka Dijana i Slobodan Stupar
osmislili su poput redatelja itav slijed
vizuelnih mikrosekvenci. Saa i Malina
voro transformirali su gradski centar
Prijedora suprotstavljajui savremeni
izraz historijskim fasadama, kako u
oblikovanju tako i materijalizaciji trga i
pjeake ulice.
U Sarajevu su projektom za Zatieno
podruje kanjona Miljacke Zavoda za
planiranje Kantona Sarajevo, koji
ukljuuje i gradska naselja, stvoreni uvjeti
razvoja ekoturizma, i tako je sprijeeno
irenje divlje gradnje u ovom
jedinstvenom ambijentu.
Projekti revitalizacije starih sarajevskih
mostova, kao i potez Vilsonovo etalite i
pjeaki most [Renzo Piano] izmeu univerzalnog jezika eklektike moderne i
Marijin-Dvora i Grbavice, uinili su mnogo
za revitalizaciju javnog prostora grada.
pravac kroz djelo Zlatka Ugljena i njegove
IDENTITET
Drutvene okolnosti i odnos Bosne i
Hercegovine prema Zapadu i Istoku, tj.
jugoistoku, teko je razumjeti bez
podsjeanja na graninu poziciju koju je
zadrala stoljeima izmeu blokova
velikih sila i religija Istoka i Zapada.
Dobar dio svoje povijesti Bosna i
Hercegovina je provela pod okupacijom
bilo orijenta bilo okcidenta. Bosanci i
Hercegovci su branili granice prvo Turske,
potom Austrije, potom u granicama
Jugoslavije sluili kao meniskus izmeu
Istonog bloka i Zapada, a najnovija
natezanja podsjeaju na doba hladnog
rata. Stoga jeruzalemski suivot
junoslavenskih naroda i religija u Bosni i
Hercegovini, sa svim svojim problemima i
prednostima, ima dugaku tradiciju i
istican je kao jedinstven u svijetu.
Diskusiju o ovoj temi na prostorima Bosne i evropskim tokovima, dijelom izrastao iz
Hercegovine vodili su Neidhardt i tabuizacije ove teme, dijelom iz nasilnog
Grabrijan, ukazujui na srodnost potiskivanja elemenata nacionalnog i
orijentalno-mediteranskog naslijea BiH i religijskog u doba Jugoslavije. Niz projekata
formalnih principa i oblikovnog jezika koje nalazimo u poglavljima pod imenom
klasine moderne. Ovaj diskurs ponudio je Identitet i zajednice najbolje oslikava
na popularan nain hibridizaciju koliko je diskurs o ovom pitanju prisutan i
koliki napor su i bosanskohercegovaki
lokalnog folklora (veinom bonjakog) i arhitekti uloili obraujuci temu identiteta
nastavio se razvijati kao novi identitetski kroz projekte sakralne i memorijalne
arhitekture. Preraivanje vlastite
mnogobrojne uenike. Za jedno kratko traumatizirane povijesti privlai jo uvijek
vrijeme inilo se da je poelo stvaranje veliku politiku i medijsku pozornost i
ireg pokreta koji se ponekad nazivao direktno utjee na karakter javnog i urbanog
sarajevska kola a da nikad nije formiran prostora, kao to je to sluaj sarajevskih
na bazi jasne teoretske platforme. groblja i mezarja, koji su u ratu morali
potisnuti druge sadraje iz javnog prostora.
arolikost kulturnih utjecaja uvijek je
relativirala pojam kolektivnog identiteta u Iako su izborom obuhvaeni i veliki
Bosni i Hercegovini, koji je uslijed politikih memorijalni kompleksi poput onog u
zloupotreba bio i ostao problematina Srebrenici, Sarajevu, ili Banjoj Luci,
kategorija. Interesantan prilog ovoj temi istaknuo bih energiju kojom su nabijeni
teorijom viestrukog identiteta ponudio je minimalistiki projekti poput Spomen-
prof. Reimund Rechnicer, prvo sarajevski a obiljeja ubijenoj djeci opkoljenog
poslije praki profesor i urbanist, u svom Sarajeva, autora Mensuda Kee. Ovaj dirljivi
eseju Multiple Identity and Borders Within spomenik pomirio je svoju nepretencioznu
Human Mind (Prag, 1996). Politika ulogu u javnom parku s izvanrednom
stvarnost govori da dananje pitanje snagom svoje poruke. Ovaj projekt je
identiteta veina graana Bosne i uspjean primjer suradnje arhitekata s
Hercegovine direktno povezuje kroz komplementarnim profesijama, poput
pripadnost religijskoj ili nacionalnoj skupini. umjetnika ili specijalista za okoli, koja bi
Ovaj je fenomen, iako suprotan suvremenim se mogla u budunosti favorizirati kroz

puzzle, stands alongside the Museum of the
Revolution, for which Renzo Piano has
designed an extension and upgrade.
Without going into the reasons for its
decline, the Museum is one of the worst
advertisements for Bosnia and
Herzegovinas cultural policy. Its architects,
Maga, Smidihen and Horvat, designed one
of the citys finest architectural works. On
the other hand, while the international
stage is claiming Renzo Pianos time and
his designs, Sarajevo is failing to take
seriously a unique opportunity to acquire
the trademark of one of its honorary citizens
of world renown.
Shopping mall planning has also led to the
decline of the classic urban retail scene.
The new city has increased in scale, but this
has led to still greater dependence on the
car. Public transport has not yet recovered
to its pre-war level, and political
institutions have proved incapable of
financing any extension to the network.
Within just a few years after the war the
number of cars in all of Bosnias major cities
had doubled, and is continuing to grow
exponentially. It is hard to reproach people
for needing mobility, which is the basis of
the new economy, but the dilapidated and
inadequate infrastructure is a legacy of
problems that were already looming before
the war.
The transport infrastructure is visibly
overstretched in most city centres in Bosnia
and Herzegovina. Though a priority for the
country as a whole, the construction of
Corridor VC, designed to link the country
with Europe to the north and the sea to the
south, is proceeding at a snails pace,
seriously hampering the countrys economic
development. The rail network is limited
and, though of late it has again been
possible to travel abroad by train, rail
transport is of limited relevance to
development. Railway stations and their
consequent potential impact on the
development of city centres are marginal by
comparison with their importance before
the war. Another adverse effect of this is
the impact on the environment.
PEDESTRIAN ZONES AND PUBLIC SPACES
The revitalization of pedestrian zones and
plans for new ones have gained new
momentum in the urban planning of old
city centres. The usual clients are the
borough or city councils, with contracts
awarded by tender. The huge popularity of
pedestrian zones such as the recently-
restored Ferhadija in Sarajevo or the
pedestrian precinct with Freedom Square in
Tuzla is very gratifying to all those involved
in the revitalization of public space. They
give the city a meridional atmosphere, in
which public spaces and cafs are a second
home both summer and winter. Starting
on a small scale, the architecture of the
interior of these streets was the first sign of
new life emerging. Though short-lived and
often executed on a very limited budget,
this architecture displays a lively palette of
adaptations and some interesting ideas
such as the Pizzeria Fratelli (designed by
Nedad Hrelja, Jasmina Hadimei and have done much to revive the citys public
Emir Hasei), parasitic architecture in spaces.
which the architects use existing urban
passageways and gaps (Baulcken) to
accommodate temporary structures.
Architects also use the design of pedestrian
zones to reorient the townscape. Krajina
Square in Banja Luka, for example (by
Mihailo Lujak and Dalibor Bjelica), is
designed to focus on Katel and provide
passers-by with an urban spectacle, a
Lustgarten, with the dynamic use of light
and water. In the Luka project, Dijana and
Slobodan Stupar have orchestrated a series
of visual micro-sequences. Saa and Malina
voro have transformed Prijedor town
centre by juxtaposing in both form and
material a modern style and the historic
faades of the square and pedestrian
streets.
In Sarajevo, the Sarajevo Canton Planning
Authoritys plans for the protected area of
the Miljacka gorge, which includes some of
the citys residential quarters, have laid the
foundations for the development of
ecotourism as well as preventing the spread
of buildings erected without planning
permission in this unique site.
Projects to revitalize Sarajevos old bridges
and the riverside avenue known as Wilsons
Promenade, with a footbridge by Renzo
Piano between Marindvor and Grbavica,
Bosnian Muslim), and continued to evolve
as a new trend in identity through the
IDENTITY
It is difficult to understand Bosnia and
Herzegovinas society and its relations with
the West and the East and South-East
without reference to its centuries-long
position on the frontiers between the great
powers and religions of East and West. For
much of its history, it has been under
occupation by either the orient or the
occident, and its people have defended the
borders of Turkey and then of Austria; within
the borders of Yugoslavia, they formed a
meniscus between the Eastern Bloc and the
West, and the most recent tensions are all too
reminiscent of the Cold War. The Jerusalem-
like coexistence of the southern Slav peoples
Within the Human Mind, (Prague 1996).
and religions in Bosnia and Herzegovina,
with all the drawbacks and advantages it
entails, is thus a tradition going back for
many centuries, and one that stands out as
unique in the world.
Neidhardt and Grabrijan discussed this
trends, has arisen partly from the taboo
subject in Bosnia and Herzegovina,
highlighting the affinity between Bosnia
and Herzegovinas oriental and
Mediterranean heritage and the formal
principles and vocabulary of classic
modernism. This discourse proposed a
popularized hybridization between the
universal language of eclectic modernism
and local folklore (mainly Bosniac
identity through their designs for religious
and memorial projects. Reworkings of ones
works of Zlatko Ugljen and his many
disciples. For a brief moment it seemed
that a broader movement sometimes
dubbed the Sarajevo School was
beginning to take shape, without ever being
formulated on an explicit theoretical basis.
This diversity of cultural influences has
always relativized the notion of collective
identity in Bosnia and Herzegovina, which
political manipulation has ensured remains
a problematic concept. Prof. Raymond
Rechnicer, an urbanist who taught in
Sarajevo and then in Prague, made an
interesting contribution to this with his
theory of multiple identity in his essay
entitled Multiple Identity and Borders
The political reality today is that questions
of identity are directly associated, in the
mind of most of Bosnia and Herzegovinas
people, with affiliation to a religious or
national group. This phenomenon, though
running contrary to current European
nature of the subject, and partly from the
enforced suppression of nationalism and
religion in Yugoslavia. The projects under
the headings Identity and Communities
vividly illustrate how topical is the
discourse on this subject and how much
effort Bosnia and Herzegovinas architects
are putting into addressing the issue of
own traumatic past continue to attract
considerable political and media interest,
and have a direct impact on the nature of
public and urban space, as in the case of
Sarajevos burial grounds, which necessarily
displaced other amenities from the public
arena during the war.
Though the selection includes major
memorial complexes such as those in
Srebrenica, Sarajevo and Banja Luka, I
would highlight the energy with which
minimalist designs such as Mensud Keos
memorial to the children killed during the
siege of Sarajevo are charged. This
touching monument reconciles its
unpretentious role in a public park with the
extraordinary force of its message. The
design is a successful example of
collaboration between architects and
complementary professions such as that of
the artist or environmental specialist, which
could have the edge in future competitions.
The memorial room in the Battery Factory
Memorial Centre in Potoari (Christoph
Hinterreiter, Gerd Wochein, Armin epi and

22 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 23

 sistem natjeaja.
Spomen-soba Memorijalnog centra
kompleksa Tvornice akumulatora u
Potoarima (Christoph Hinterreiter, Gerd
Wochein, Armin epi i Izra Listo)
obiljeena je gotovo iritirajuim
kontrastom koji ostavlja prisustvo crnih
kubusa u volumenu tvornice. Poput snage
sudbine, posjetilac sluti da e biti usisan u
ovu crnu rupu u kojoj prestaje osjeaj
prostora i poinju pokretne slike...
Jednostavna snaga simbola upotrijebljena
je i kod projekta Sarajevo Cross (autor
Mladen Jadri), koji je zamiljen kao
privremeni spomenik. Na unutarnjim
zidovima slike razaranja i oficijelni apel
protiv ratnih razaranja koji su sarajevski
arhitekti uputili svjetskoj javnosti.
Pomjerene osovine simboliziraju sistem
koji je ispao iz vlastite ravnotee. Ovaj
objekt danas simbolino oznaava ulaz u
Fakultet za suvremenu povijest u Grazu.
Tradicija povijesnih i memorijalnih
kompleksa nije nastala poslije rata, ve
posjeduje kontinuitet od nekoliko
desetljea s nekoliko znaajnih ostvarenja
poput onih Bogdana Bogdanovia u
Mostaru, muzej i spomenik Bitka na Neretvi
(Branko Tadi, Zdravko Dunerovi i
Mustafa Rami), ili Duana Damonje na
Kozari, koji tematiziraju razaranja i
tragedije iz Drugog svjetskog rata.
Na suvremen i duhovit nain slojeve
identiteta istrauje Trg sevdaha [autori:
Muteveli, Pai, abi]. Tekst, melodija i
ritam ovdje su inspiracija za fiziko
oblikovanje topografije trga. Iako nije
potpuno tehniki razraena ideja kako bi
ova multimedijalna scena trebala
funkcionirati, ovaj nas rad podsjea na to
emu bi zapravo trebali sluiti javni
prostori: poticanju meusobne
komunikacije demokratskog drutva i
interakciji arhitekture i njenih korisnika.
U projektu za Historijski park
srednjovjekovne BiH u Zenici autori
pomjeraju granicu izmeu elemenata:
objekt, trg i park. Autori polaze od
pretpostavke da je arhitektura statina
kulisa u slubi vremena. Obrnuti slijed
pasivnog promatraa a dinamine kulise
Bosanski toak predloili su Adnan Drnda
i Igor Gluac kao paviljon Bosne i
Hercegovine na WTM-u u Londonu. Ova
nagraena ideja, za koju inspiracija dolazi
iz povijesti filmske animacije (uveani
praksinoskop koji omoguava virtualno
putovanje kroz Bosnu i Hercegovinu),
realizirana je jednostavnim i jeftinim
elementima na minimalnom prostoru.
REVITALIZACIJE I REKONSTRUKCIJE
Restauraciji i obnovi kulturne
(arhitektonske) batine posveena je velika
panja proteklih desetak godina.
Razumljivo, uzmemo li u obzir ratna
razaranja koja su dijelom imala cilj
unitavanje kulturnog naslijea.
Restauracija kulturnog identiteta deava se
i fiziki i duhovno u osobito vanim
restauracijama Starog mosta i Starog grada
u Mostaru, starog grada Poitelja,
srednjovjekovnog Jajca, ali svi ovi projekti
imaju iste probleme: arhivska graa i
originalni nacrti nedostaju, predgradnje
nisu dokumentirane, problematine
materijalizacije, detalji, konstrukcije. Iako je
nesumnjiva emotivna satisfakcija
vraanjem ovog blaga, ove su restauracije
potakle diskusiju o pitanjima poput
tipoloke restauracije, povlaenju granice
izmeu restauracije i rekonstrukcije,
ambijentalnim kvalitetama i sl. S obzirom
na vanost, premalo je primjera
obuhvaeno ovom publikacijom. Uoljiv je
nedostatak socijalne odrivosti i ideje na
koji nain restaurirati izgubljene vrijednosti
koje su nosili ljudi i njihove zajednice.
Mnogi su socijalni konstrukti naalost
zauvijek izgubljeni.
Desetogodinji diskontinuitet u funkciji
trajao je prije zavretka radova na obnovi
crkve Blagovjetenja i Starog konaka
manastira itomislii, koju je vodila
Milijana Okilj. Uspjeli su primjeri
rekonstrukcija Glavne pote u Sarajevu
Ferhada Mulabegovia i Gradske vijenice
u Brkom [autori Husein Dropi i Mehmed
Dropi].
Pronaeni povijesni graditeljski slojevi
zaustavili su na neko vrijeme radove na
Bijeloj tabiji, ija je rekonstrukcija
povjerena arhitektu akademiku prof. Zlatku
Ugljenu. Pored planiranog vidikovca,
prostor unutar zidina zamiljen je kao
ljetna pozornica.
Najbolji primjeri revitalizacije ne moraju
neminovno pripadati domeni materijalnog.
To dokazuje potenciranje konteksta i vjeto
manipuliranje vizuelnim doivljajem koje
je autor Sra Hrisafovi uspio rijeiti
projektom rasvjete u sarajevskoj ariji.
Mnogo posla ostalo je jo nedovreno:
Muzej revolucije u Sarajevu, vrhunski
dometi domae moderne od onih brae
Kadi, preko Smiljania, Baylona,
Neidhardta i dr., moraju biti restaurirani
prije negoli dobiju parazitske aditive koji e
promijeniti njihovu proporciju poput onih
na zgradama ivorada Jankovia. Vrijeme
nas neumoljivo podsjea na prolaznost
naeg fizikog prisustva i zbog toga je
neophodno vie senzibiliteta za skoriju
arhitektonsku povijest. Fascinacija novim je
snana, ali isto tako je injenica da danas
veinu graevinske djelatnosti u Evropi ini
upravo upgrade historijske graevinske
supstance.
Nadu ulijeva i javnost. Pratei ove procese
iz popularnih medija, ira bosanska javnost
upoznata je kao nikada ranije s
kompleksnou svoje kulturne batine. Vila
Sutovi, urednica Magazina AGD Profi,
trudi se da izgradi kvalitetan asopis koji e
komunicirati sa irokom strunom
javnou, u Banjoj Luci je taj zadatak
dopunio nauno-struni asopis za
arhitekturu i graevinarstvo Prostor, a u
Mostaru mjesenik M-Kvadrat.
RELIGIJSKE ZAJEDNICE
Nakon rata, religija izlazi iz domene
privatnog, vraa se u podruje politikog i
kulturnog ivota i aktivno sudjeluje u
drutvenim promjenama.
Prvi put nakon skoro 70 godina stagnacije
grade se intenzivno religijski objekti, crkve,
damije, teoloki fakulteti. Za vrlo kratko
vrijeme religijski objekti preuzeli su ili
povratili ulogu centralnog motiva mnogih
gradskih naselja. Njihova prisutnost je,
naalost, u veini sluajeva ograniena na
simboliki karakter i tradicionalno
poimanje religijskog prostora. Suvremena
potreba za duhovnou mogla bi iskoristiti
potencijal sakralnih prostora za dijalog sa
irom zajednicom.
Iskorak iz tradicionalnog dijelom je
uvjetovan konzervativnou [i nevoljnim
eksperimentom], a dijelom i zbog lake
komunikacije posee za prepoznatljivim
simbolima.
Tako je tradicija jednostavnih osmanlijskih
damija, pokatkad s drvenom munarom,
najee citiran arhetip koji se susree po
cijeloj Bosni i Hercegovini: primjeri seu od
jednostavnih seoskih damija, najee
izgraenih doprinosom kako materijalnim
tako i radnim svih stanovnika zajednice,
tako i u postmodernim varijacijama ovog
arhetipa poput Bijele damije u Brkom ili
nove Rijeanske damije u Zvorniku. Autor
obiju je Husein Dropi. Projektni zadaci su
obogaeni nizom kulturnih i edukativnih
elemenata, u elji da postanu stalna mjesta
okupljanja i kulturnog ivota.
Rijetki su izleti u moderni izraz, poput
damije u Novom naselju Bosna Hamdije
Salihovia.
Uz participaciju i entuzijazam zajednice,
zajedno s arhitektom Amirom Vukom,
realizirana je damija u Ostojiima na
Bjelanici, koju jedino ovalni oblik osnove i
decentna munara razlikuje od

Izra Listo) is characterized by the almost
irritating contrast created by the presence
of black cubes in the factory hall. Visitors
have the feeling that they will be sucked, as
if by some force of destiny, into this black
hole in which the sense of space evaporates
and moving images begin.
The raw power of symbols is also exploited
in the design for the Sarajevo Cross (Mladen
Jadri), which is conceived as a temporary
monument. The inside walls are covered
with images of destruction and the official
appeal to the world to act against the
ravages of war, issued by Sarajevos
architects. The shifting axes symbolize a
system that has lost its own equilibrium.
The structure now symbolically marks the
entrance to the School of Modern Art in
Graz. The creation of memorial complexes
is not merely a post-war phenomenon, but a
tradition that goes back several decades
and includes a number of major designs
such as Bogdan Bogdanovis Partisans
Memorial Cemetery in Mostar, the Museum
of the Battle for the Wounded (the Battle of
the Neretva) in Jablanica (Branko Tadi,
Zdravko Dunerovi and Mustafa Rami), or
Duan Damonjas memorial in Kozara,
commemorating the destruction and
tragedy of World War II.
The layers of identity are explored in a
contemporary, witty manner in Sevdah
Square (Mutevelic, Pai, abi). Text,
melody and rhythm are the inspiration here
for the physical layout of the square.
Though not fully developed, the idea for the
way this multimedia scene should work
reminds us of what public spaces should be
for: encouraging interpersonal
communication in a democratic society, and
the interaction between architecture and
those who use it.
In their design for the Mediaeval History
Park of Bosnia and Herzegovina in Zenica,
the architects shift the boundaries between
the building, the square and the park. Their
starting point is the assumption that
architecture is a static backdrop to the
passage of time. Adnan Drnda and Igor
Gluac propose the converse of this for the
Bosnia and Herzegovina stand at the World
Travel Market in London, with its Bosnian
Wheel where the onlooker is passive
against a moving backdrop. This prize-
winning idea, inspired by the history of film
animation (a large-scale praxinoscope
creating a virtual journey through Bosnia
and Herzegovina), was executed using
simple, inexpensive elements in the
minimum of space.
REVITALIZATION AND RECONSTRUCTION
The restoration and reconstruction of the
cultural (built) heritage has received
considerable attention over the past decade
or so. This is to be expected, considering Konak of itomislii Monastery, conducted
the extent of war damage, much of which
was deliberately aimed at destroying the
cultural heritage.
The restoration of cultural identity is taking
place both physically and mentally in major
restoration projects such as the
reconstruction of the Old Bridge and
restoration of the old town in Mostar, the
old walled town of Poitelj and mediaeval
Jajce, but all these projects face the same
problems: the lack of archive materials and
original drawings or blueprints,
undocumented alterations, and the
inappropriate use of materials, details and
construction. Though the emotional
satisfaction of restoring these assets
cannot be denied, these restorations have
prompted a debate over issues such as
typological restoration, where the line
should be drawn between restoration and
reconstruction, townscape amenities and
such like. The projects of this kind included
in this publication are too few to reflect the
importance of such undertakings. There is
an obvious lack of social sustainability and
of the idea of how to restore the lost values
that people and their communities have
fostered. Tragically, many social constructs
have been lost forever.
There was a ten year gap before the
completion of restoration works on the
Church of the Annunciation and the old
why we must cultivate a greater sensibility
by Milijana Okilj. The Central Post Office
in Sarajevo by Ferhad Mulabegovi and the
Town Hall in Brko (Husein Dropi and
Mehmed Dropi) are successful examples of
reconstruction.
The discovery of historic built strata
temporarily halted works on the White
Bastion, the reconstruction of which had
been entrusted to the architect and
academician Professor Zlatko Ugljen. In
addition to the proposed belvedere, the
area within the walls is intended for use as
an outdoor theatre.
The finest examples of revitalization need
not necessarily belong to the material
world, as suggested by the skilful
manipulation of the visual experience and
emphasis on context of Sra Hrisafovis
floodlighting project for the Sarajevo
arija.
Much work remains to be done. The
Museum of the Revolution in Sarajevo, and
the masterpieces of the local modernism
that began with the Kadi brothers and was
taken forward by Smiljani, Baylon,
Neidhardt and others, must be restored
before they acquire any parasitic accretions
altering their appearance, as has happened
with ivorad Jankovis buildings. Time
inexorably reminds us of the transient
nature of our physical presence, which is
current need for the spiritual could exploit
towards our recent architectural history.
The new has its own powerful fascination,
but the fact remains that most building
activity in Europe these days consists of
upgrading the historic built fabric.
The public also inspires hope as these
processes are covered by the popular media,
the general public in Bosnia is more
familiar than ever before with the
complexity of our cultural heritage. Vila
Sutovi, editor of the magazine AGD Profi, is
taking pains to develop a high-quality trade
journal for the profession, while in Banja
Luka this niche is being met by Prostor, a
trade journal for architects and the building
trade, and in Mostar by the monthly M-
Kvadrat.
RELIGIOUS COMMUNITIES
Since the war, religion has re-emerged from
the private domain into the political and
cultural limelight, and is an active catalyst
of social change. For the first time after
almost seventy years of stagnation, there is
a boom in the construction of churches,
mosques and theological colleges. In next
to no time, religious edifices took over or
regained their role as the central feature of
many towns and urban districts.
Unfortunately, however, their presence is
largely restricted to the symbolic,
traditional notion of a religious space. The
one of Bosnia and Herzegovinas more
the potential of religious premises for a
dialogue with the wider community.
Breaking away from tradition is limited
partly by conservatism (and regrettable
experimentation), and partly by the fact that
it is easier to resort to familiar symbols.
The traditional Ottoman mosque, a simple
structure often with a wooden minaret, is
the most common archetype throughout
Bosnia and Herzegovina, ranging from
simple village mosques usually built by the
community as a whole contributing
materials and labour, to post-modern
variations on the them such as the White
Mosque in Brko or the New Rijeanska
Mosque in Zvornik, both designed by Husein
Dropi. The basic terms of reference are
enriched by a range of cultural and
educational facilities in the hope that they
will become a regular venue for meetings
and cultural events.
Ventures into a modernist style such as that
of the mosque in Novo Naselje, by Hamdija
Salihovi, are few and far between.
The mosque in Ostojii on Mt. Bjelanica, a
joint effort by an enthusiastic local
community and architect Amir Vuk, differs
from the traditional mountain hut only in
its oval footprint and respectable minaret.
Despite its size, its unpretentious location,
modest interior and simple exterior make it

24 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 25

 tradicionalne planinske kolibe. Usprkos
svojoj veliini, njena nepretenciozna
pozicija i skromnost, kako interijera tako i
eksterijera, ine je jednim od uspjelijih
religijskih objekata u Bosni i Hercegovini.
Katolika kapela u eravcu Nine Ugljen
kompozicija je osnovnih geometrijskih
tijela koja citira baroknu parafrazu, a
kolonada ispred kapelice zatvara void
volumen koji prostorno podsjea na crkvu s
nebeskim krovom.
Koncepti Marka Muia koje je razvio na
projektima Nove crkve u svetitu S. Ivana
Krstitelja i Jubilarni kri s kapelom
Uskrsnua trae intenzivni odnos s
prirodom. Oba objekta ukopana u stijenu
podsjeaju na skromnost i jednostavnost
religijskih hramova iz Kapadokije i
prapoetke kranske zajednice. Izdaleka
ostaju vidljivi samo glavni simboli zvonik i
kri, koji dominiraju siluetom brdovite
okoline.
Odreene stilske paralele nalazimo u
upnoj crkvi u Zoviku u Brkom Ivana
trausa, kao na primjer apstrakcije
klasinih zvonika i krovnih nosaa. Uspio je
dijalog starog i novog, skromne stare
kamene crkvice i gotovo dematerijalizirane
nove.
STANOVANJE
Period socijalistikog drutva ostavio je
prepoznatljiv peat po mnogobrojnim
stambenim naseljima koja najbolje
oslikavaju ustrojstvo tadanjeg kolektiva.
Proces planiranja, donoenja odluka i
financiranja bio je centraliziran i monopol
drave. Iz jedne krajnosti u drugu: nakon
rata, u procesu tranzicije, privatna
inicijativa, koncentrirana u velikom broju
malih poduzetnika, preuzela je u
potpunosti trite stanogradnje. Drava je
minimalno investirala u ovo podruje, to
je dovelo do usitnjavanja ponude i
odsustva strategije.
Liberalizacija trita potakla je fenomen
da se umjesto novih naselja vri
pogunjavanje starih. Najea rtva ovog
procesa (izbjegavanje ulaganja u
infrastrukturu) jesu javni i zeleni prostori,
ili pak djeja igralita. Mnoge
urbanistike premise projektiranja
zdravog ivota iz ezdesetih i
sedamdesetih godina na taj nain su
nepovratno unitene. Dotrajala stambena
gradnja bez ovog aspekta sama po sebi
izgubit e smisao i bit e zamijenjena u
iduem slijedu. Slian fenomen u manjem
mjerilu desio se u brojnim sarajevskim
mahalama (stambenim naseljima iz
turskog perioda) u starom gradu ono to
je nekada bio vrtni grad nakon
neprekidnog procesa pogunjavanja i
diktata automobila poprima sve vie
kvalitetu brazilske favele.
Ovoj urbanoj dekonstrukciji jedinstvenih
primjera ambijentalne arhitekture
(bosanska kua, o kojoj svi priaju i nitko
je na titi) rtvovane su mnoge
tradicionalne obiteljske kue visoke
vrijednosti.
Obiteljska kua, kao marketinki simbol,
postala je sinonim za komforan i
kvalitetan ivot.
Ovaj tip, potisnut iz urbanistikih
razmiljanja osamdesetih, doivio je svoj
povratak u centar interesa i irenjem
gradova i izgradnjom novih predgraa u
kojim se susreu u svim varijantama:
kue, vile i urbane vile. Iako arhitekti
uivaju relativnu slobodu u projektiranju
ovakvih objekata, poveana je njihova
odgovornost i prema kontroli kvalitete i
prema okoliu. Tako nisu sva inovativna
rjeenja vidljiva promatrau. Energetska i
klimatska kontrola je u centru panje
suvremenog diskursa arhitekture nove
generacije tzv. pametnih kua. Ovaj visoki
tehniki standard nudi primjer Ona je
pametna (autori Duan Jovanovi i Zorica
Penuslinski).
Programska inovacija je hibridizacija rada
i stanovanja na simboliki nazvanoj Music
Farm na Ilidi (autori Emir Salki i
Muhamed Serdarevi). Imid koji oponaa
jednostavnu formu uslunog objekta
ovdje je proiren u simbol itave kue.
Plastini izraz obiteljske kue A+E u
Sarajevu, koju je projektirao Adnan Pai,
osloboen je od svih formalnih
elemenata tradicionalne kue. Logika
njene arhitekture formalni je odgovor na
tri premise: osunanje, pogled i principi
gradnje na kosom terenu.
Kua Michi autorskog tima V.
Islambegovi, I. Jaarevi, K. Vatrenjak i A.
Muteveli interpretacija je Raumplana
Adolfa Loosa. ak sedamnaest nivoa,
ukljuujui i vanjsko dvorite, spiralno se
razvija oko osovine stubita. Na taj
nain je unutarnja komunikacija svedena
na minimum, a raznovrsnost prostora
itljiva na fasadi.
Jedan od standardnih problema
kolektivnog stanovanja je unifikacija
elemenata i ponavljanje prostora, sa
svrhom da se konstrukcija pojednostavi i
uini jeftinijom. Bewo apartmani (autori
Dijana i Slobodan Stupar) u Banjoj Luci su
eksperiment s atipinom etaom koja
reflektira individualnost korisnika.
Dodatni prostori smjeteni izmeu stana i
fasade omoguili bi njihovo aktivno
uee u oblikovanju zgrade kao i
interakciju arhitekta i korisnika.
Primjeri velikog mjerila kolektivnog
stanovanja nude mali broj novih rjeenja.
U dispozicijama stanova i njihovom
konceptu osim poveanja mjerila
pojedinih prostorija nema osobitih
inovacija. Iako veina privatno
financiranih stambenih objekata
posjeduje neosporan individualni
karakter, privatni interes pretpostavljen je
javnom i proputena je ansa da objekti
oblikuju javni gradski prostor.
Ski apartmani na Bjelanici grupe Studio
Non-Stop realizirani su za privremeno
stanovanje, ali je objekt koherentan po
svim osnovama: svih 78 apartmana ima
direktan pogled na vrh Bjelanice u kui javni prostori i mjesta okupljanja srednje
koju apstrahira silueta planine u ijem je
pravcu orijentirana. Uspjean je i dijalog s
lokalnim koloritom i materijalima, uz
suvremenu upotrebu elemenata pasivne
solarne kue.
Ovaj objekt poprilino je usamljen
primjer kontekstualno uspjelog koncepta
i kvalitetne realizacije stambene
arhitekture na olimpijskim planinama.
Nedaleko od ovog objekta, nepravilna
geometrija bosanskog planinskog sela
posluila je istim autorima (Sanja Gali-
Grozdani i Igor Grozdani) kao inspiracija
za pobjedniki koncept na natjeaju za
Centralni sadraji Bjelanica.
Realizacija ovog objekta omoguila bi
formiranje karaktera i stvaranje
jedinstvenog centra koji se poinje
formirati u Babinom dolu.
ZAJEDNIKI IVOT
Intenzivnom obnovom kulturnih sadraja,
kao dijela obnove graditeljskog naslijea,
veina kulturnih sadraja vraena je u
predratne volumene. Vee teatarske ili
muzejske gradnje nisu planirane, i
evidentno im nedostaje plan, koncept i
ekonomska platforma djelovanja. ini se
da zapadne tendencije moderniziranja
muzejskih prostora koji su postali novi
klase ne uivaju adekvatnu popularnost u
Bosni.
Pojedinani primjeri predstavljeni u ovoj
publikaciji su mali mjerilom, ali zato
interesantni sadrajem: Turski info centar
[Amir Vuk] u starom dijelu Sarajeva
suptilna je interpolacija koja potuje
mjerilo ulice. Motiv prekrivene ulice i
pretvaranja vanjskog prostora u
unutranji kreativni je credo ovog
arhitekte i provlai se kroz veinu
njegovih djela. Dematerijalizacija fasade i
vjeto osvjetljavanje prostora u relativno
uskom i dugakom prostoru ine ovaj

successful religious buildings.
Nina Ugljens Catholic chapel in eravac is a
composition of basic geometric forms
paraphrasing the Baroque, with the
colonnade outside enclosing a void, in a
spatial reference to a church with a vault of
the heavens ceiling.
Marko Muis ideas, developed for the new
church at the shrine of St John the Baptist
and the Jubilee Cross and chapel of the
Resurrection, are an appeal for an intimate
relationship with nature. Both are set back
into the hillside, reminding one of the
simplicity and austerity of the cave churches
of Cappadocia and the earliest days of the
Christian community. All that can be seen
from a distance are the principal symbols of
the bell tower or the cross, dominating the
surrounding hilly skyline.
Certain stylistic parallels may be found in
Ivan trauss parish church at Zovik in
Brko, as an example of the abstraction of
the classic bell tower and roof timbers,
achieving a successful dialogue between
old and new, between the modest old stone
church and the almost dematerialized new
one.
HOUSING
The socialist period left its mark on many
housing developments, which clearly
illustrate the collective nature of society at
that time, in which planning, decision-
making and financing were a centralized
state monopoly. Things have now swung to
the opposite extreme: since the war, in the
process of transition, private initiative, in
the form of a plethora of small businesses,
has completely taken over the housing
development market. The state has
invested very little in housing, and the
come-back as towns and cities grow and
result is a fragmented market and the
absence of any strategy.
Market liberalization has encouraged
overcrowding in older developments rather
than the creation of new ones. The usual
victims of this process (which saves having
to invest in infrastructure) are open and
green spaces, and even childrens
playgrounds. Many sites designed for a
healthy lifestyle in the 1960s and 1970s
have thus been irretrievably destroyed.
Dilapidated housing once deprived of this
quality loses its very purpose, and will have
to be replaced. Much the same thing, albeit
on a smaller scale, has been taking place in
many of Sarajevos mahalas, those
residential quarters dating from the
Ottoman period, in the old city what was
once a garden city is increasingly coming
to resemble a Brazilian favela as motor
vehicle traffic and infill after infill take their
toll. All too many traditional family houses
of great value have fallen victim to this
urban deconstruction of unique examples of
townscape architecture (the Bosnian house,
which everyone talks about but no one is
protecting).
The family house as a marketing ploy has
become synonymous with comfort and
quality of life. Sidelined in the urban
planning of the 1980s, it is enjoying a
new suburbs are built, where it can be
found in all its variations: detached houses,
villas, town-houses. Though architects
enjoy a relative degree of freedom in
designing such properties, this places
greater responsibility on them as regards
quality control and environmental
considerations. This means that not every
innovative solution is visible to the
onlooker. Energy savings and climate
control are the main focus of contemporary
discourse on the architecture of the new
generation of smart houses. An example
of this high technical standard is to be
found in the Ona je pametna (Smart
House) design by Duan Jovanovi and
Zorica Penuslinski.
An example of programmatic innovation is
the combination of workplace and home
symbolically dubbed the Mui Farm in
Ilida, designed by Emir Salki and
Muhamed Serdarevi. Here an image
imitating the simple forms of the workplace
is extended to the symbol of the entire
house.
The design of the A+E family house in
Sarajevo by Adnan Pai has been stripped
of all the formal elements of the traditional
house. The logic of its architecture is a
formal response to three requirements:
exposure to the sun, a view, and the
principles of building on a sloping site.
The Michi House, by Vedad Islambegovi,
Ibrica Jaarevi, Kenan Vatrenjak and Asmir
Muteveli, is an interpretation of Adolf Loos
Raumplan. No fewer than seventeen levels,
including the yard, form a spiral around the
central axis of the stairwell, reducing the
need for corridors to a minimum. The
diversity of spaces within the building can
be read on its faade.
One of the problems of communal housing
is the standardization and repetition of
components to allow for simpler, more cost-
effective construction. The Bewo
Apartments in Banja Luka, by Dijana and
Slobodan Stupar, are an experiment with
the atypical storey designed to reflect the
individuality of the occupants. The extra
spaces between the flats and the faade
would enable each occupant to become
actively involved in the design of the
building and to interact with the architects.
Examples of large-scale communal housing
provide few new solutions. The layout and
design of the flats have no new features
except that some of the rooms are larger.
Though most private funding of housing is
individual in nature, private interests are
subordinated to public, and the opportunity
for such buildings to shape the public
urban space is being missed.
The ski apartments on Mt. Bjelanica by the
Studio Non-Stop group are not designed for
year-round occupancy, but the building is
coherent in every regard. All 78 apartments
have a direct view of the summit of Mt.
Bjelanica in a building that is an abstract
echo of the outline of the mountain it faces.
It also establishes a successful dialogue
with the surrounding colour palette and
materials while incorporating the features
of a passive solar house. The building is a
more or less isolated instance of a
contextually successful concept and high
quality execution of residential architecture
on an Olympic mountain.
The irregular geometry of a Bosnian
mountain village was used by the same
architects (Sanja Gali-Grozdani and Igor
Grozdani) as their inspiration for the
winning design for the nearby central
Bjelanica facilities. These facilities once
built will define the character of the centre
beginning to take shape in Babin Do. on the other hand, is what Bernard
LIVING TOGETHER
The restoration of cultural facilities as part
of the reconstruction of the built heritage
has already restored most cultural facilities
to their pre-war levels. There are no plans
for major theatres or museums, and there is
an evident lack of any plan, concept and
economic basis for their operation. It would
seem that the fashion in the West for
updating museums, which have become
new public venues for the middle classes,
has yet to gain popularity in Bosnia.
The examples represented in this
publication are small in scale but
interesting in content. Amir Vuks Turkish
Cultural Centre in the old part of Sarajevo is
a subtle instance of an infill that respects
the scale of the streetscape. The motif of
the covered street and of bringing the
outdoors in is this architects creative credo,
running through most of his work. The
dematerialization of the faade and the
skilful lighting of the interior in a relatively
long, narrow space make this building one
of the finest recent achievements of its kind
in Bosnia and Herzegovina.
Notwithstanding significant media backing
and financial support in the form of
donations, the National and University
Library (the old City Hall) in Sarajevo has
yet to be restored to its former glory. This,
Bostjani is aiming for with his design for
the Central Library in Zenica. Standing by
the River Bosna, this temple to the book
should become a popular new venue for the

26 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 27

 objekt jednim od najboljih skorijih
ostvarenja ovakve vrste u Bosni i
Hercegovini.
Usprkos znaajnoj medijskoj i financijskoj
podrci u vidu donacija, Gradska biblioteka
[stara Vijenica] u Sarajevu nije vratila svoj
sadraj i znaaj. S druge strane, Bernard
Bostjani eli ovaj cilj postii svojim alica], Zgarite [reija: Amra Mehi] i
projektom za Gradsku biblioteku u Zenici.
Lociran na rijeci Bosni, ovaj hram knjige
trebao bi postati novo popularno mjesto
okupljanja Zeniana i doprinijeti korekciji
imida ovog industrijskog grada kroz
upotrebu ekolokih i recikliranih materijala.
Interesantnu alternativu koja je nastala
prazninom ponude to su je nekada
ispunjavali sadrajno tzv. domovi kulture
ponudile su Lejla Kreevljakovi i Elsa
Turkui projektom za kolski kulturno-
sportski centar Bistrik. Samoinicijativnom
dopunom natjeajnog programa pretvorile
su zadatak u polivalentni objekt koji se
uprkos kompleksnosti programa dobro
uklopio u mjerilo naselja Bistrik u starom
dijelu Sarajeva.
Zaeta jos prije rata, tradicija scenske i
filmske umjetnosti razvila se u svjetski
priznatu djelatnost. Sarajevski filmski
festival jedna je od vanijih i posebno
interesantnih smotri ove vrste u svijetu.
people of Zenica and help to enhance the
image of this industrial town by its use of
environmentally-friendly and recycled
materials. An interesting alternative,
arising from the absence of the amenities
formerly met by cultural centres, has been
put forward by Lejla Kreevljakovi and Elsa
Turkui in their design for the Bistrik
school cultural and sports centre.
Extending the competition terms of
reference on their own initiative, they
transformed the brief into a multipurpose
building that, despite its complexity, fits
comfortably into the scale of Bistrik in the
old part of Sarajevo.
Dating back to pre-war days, the tradition
of the performing arts and cinematography
has evolved into an internationally
recognized feature. The Sarajevo Film
Festival is one of the more important and
particularly interesting international events
of its kind. More and more architects are
becoming actively involved in the
organization of the event itself and in film
production. Their limited budgets seem to
stimulate the imagination and ability to
improvise that have made Sanda Popovacs
reputation working on films such as Cirkus
Columbia (directed by Danis Tanovi), Kod
amide Idriza (directed by Pjer alica),
Zgarite (directed by Amra Mehi) and
Storm (directed by Hans-Christian Schmid).
Lada Maglajli was responsible for the
scenography of the film Na Putu (directed
28 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Sve vei broj arhitekata aktivno sudjeluje
kako u organizaciji ovog eventa tako i u
produkciji samih filmova. Skromni
scenografski budeti potiu, ini se, matu i
smisao za improvizaciju kojom je Sanda
Popovac napravila reputaciju radei na
filmovima Cirkus Columbia [reija: Danis
Tanovi], Kod amide Idriza [reija: Pjer ovaj projekat nije ni do danas realiziran.
Storm [reija: Hans-Christian Schmid]. Lada
Maglajli radila je scenografiju filma Na
putu [reija: Jasmila bani], vjeto
kombinirajui poznate sarajevske lokacije s
elementima event-arhitekture. Sarajevska
filmska i dramska umjetnost profilirat e se
jo bolje u adekvatnim uvjetima rada.
Pobjednik natjeaja za zgradu Akademije
scenskih umjetnosti, ija je izgradnja
upravo zapoela, je u New Yorku
stacionirani arhitekt Jonus Ademovi.
Njegov koncept je interpolacija koja
predvia spiralno nizanje prostora za
edukaciju, zatvorene i otvorene teatarske
scene i polujavni TV studio.
U dva navrata je inicirana ideja da Sarajevo
dobije neto poput kue arhitekture. Obje
akcije rezultirale su samo izradom
projekata (autor Mladen Jadri), prvi na
Bentbai, dinamian paviljon kao reakcija
na topografiju grada i rijeke, i drugi u
naselju Ciglane, koristei fundamente
nekadanje olimpijske sterreichische
by Jasmila bani), adeptly combining well-
known Sarajevo locations with elements of
event-architecture. Sarajevos performing
arts will become still better known as
working conditions improve. The winning
entry for a new building for the Academy of
the Performing Arts, work on which has just
begun, was initiated by New York based
architect Jonus Ademovi, whose concept is
an infill consisting of premises laid out in a
spiral providing spaces for education, indoor
and outdoor theatres and a semi-public TV
studio.
The idea that Sarajevo should have a House
of Architecture has twice been mooted,
though neither went beyond the design
stage (by architect Mladen Jadri) the first
at Bentbaa, a dynamic pavilion in response
to the topography of the city and the river,
and the second in the residential
development of Ciglane, using the
foundations and reminiscent in appearance
of the former Olympic sterreich Haus.
Before the war the sterreich Haus was one
of the citys architects main meeting points,
along with the Collegium Artisticum.
Though backed by the local Architects
Association, the Austrian Chamber of
Architects, and Sarajevo Canton, the design
has yet to be executed.
THE DIASPORA A VIRTUAL BOSNIA AND
HERZEGOVINA
IN BIH 1995-2010
Haus (Austrijska kua) i oblikovnu
reminiscenciju na nju. sterreichische
Haus bila je prije rata, pored Collegium
artisticuma, centar okupljanja arhitekata.
Iako podran i potpomognut od domae
Asocijacije arhitekata, austrijske
Arhitektonske komore i Kantona Sarajevo,
evropskim uredima: Ademir Voli [Zaha
Hadid], Mladen Jadri [Coop Himmelblau]
DIJASPORA VIRTUALNA BOSNA I
HERCEGOVINA
Bosanskohercegovaka dijaspora,
nastanjena na svim kontinentima svijeta i
organizirana kao virtual cummunity,
procentualno je jedna od veih u svijetu i
tvrdim odgovorno da malo tko ima tako
dobar globalni pregled dogaanja kao
bosanski strunjaci u svijetu.
Od polarnog kruga u Norvekoj, gdje je
2009. Arctic Culture Centre u Hammerfestu
realiziran po nacrtima Adnana
Harambaia (partner u arhitektonskom
uredu a-lab) do Oaklanda na Novom
Zelandu, gdje Duko Bogunovi, jedan od
pionira ekolokog urbanizma, predaje na
University of Auckland na Novom Zelandu,
do Sjedinjenih Drzava, gdje Vladimir Krsti
predaje amerikim studentima urbanizam i
suvremenu japansku arhitekturu na Kansas
State University, do Bea, gdje Mladen
Jadri, predava na TU Wien [Tehnicki
The Bosnia and Herzegovina diaspora,
dispersed throughout the world and
organized as a virtual community, is one of
the largest in the world in percentage
terms, and it is no exaggeration to say that
few others have so good a global overview
of events as Bosnias specialists and
professionals.
They range from the Arctic Circle in Norway,
where the Arctic Culture Centre in
Hammerfest was built in 2009 to blueprints
by Adnan Harambai (a partner in the a-
lab architects studio), to Auckland in New
Zealand, where Duko Bogunovi, a pioneer
of environmental urbanism, teaches at the
University of Auckland, or the United States,
where Vladimir Krsti teaches urbanism and
contemporary Japanese architecture to
American students at Kansas State
University, or Vienna, where Mladen Jadri,
who lectures at TU Wien, is heading an
international exchange programme for
foreign and Austrian students.
Many architects of the generation that
began its professional career in the early
1990s have gained additional experience in
major European studios, among them
Ademir Voli (Zaha Hadid), Mladen Jadri
(Coop Himmelblau) and Nevil Binder (Boris
Podrecca).
Mirjam and Ademir Voli, multi-talented
workaholics simultaneously branching out
univerzitet u Beu], vodi meunarodne
programe razmjene stranih i austrijskih
studenata.
Brojni arhitekti iz generacije koja je poela
profesionalni put poetkom devedesetih
dobili su dodatnu praksu u uvenim
apstrakcija, ekoloki transfer, nova
geometrija itd. Proimanjem ovih tema
ili Nevil Binder [Boris Podrecca].
Mirjam i Ademir Voli ive i rade u
Londonu, multitalentirani warkoholici koji
se paralelno okuavaju na nekoliko
pravaca. Njihov ured Volumatrix poinje s
gradnjom velikog kulturnog centra u
Londonu, a na poluotoku Peljecu
projektiraju jedan od najveih turistikih
projekata u Hrvatskoj zadnjih godina. Za
dizajn CD-rack dobitnici su Red Dot,
renomirane evropske nagrade za dizajn
koja se dodjeljuje u Klnu.
U Beu je itav niz pripadnika sarajevske
kole ostavio zapaen trag: pored gore
navedenih Bindera i Jadria, tu su Nina i
eljko Katalini, Nerma Linsberger, Zlatan
Tei, Semir i Dalila Zubevi.
Nevil Binder (partner u firmi AN_architects)
ispituje nastanak ambijetalnog prototipa i
njegovog djelovanja na okolinu i korisnika.
Potraga za jakim identitetom objekta stoji
in a number of different directions, live and
work in London. Their Volumatrix studio
began with the construction of a major
cultural centre in London, while on the
Peljeac peninsula they are designing one
of Croatias most ambitious tourist projects
in recent years. They received the leading
European Roter Punkt (Red Dot) design
award in Cologne for their design for a CD
rack.
Many members of the Sarajevo School
have made their mark in Vienna not only
Binder and Jadri, noted above, but also
Nina and eljko Katalini, Nerma
Linsberger, Zlatan Tei, and Semir and
Dalila Zubevi. Nevil Binder (a partner in
AN_architects) is studying the genesis of the
ambiental prototype and its impact on the
environment and its occupants. The quest
for a powerful identity for each building is
at the forefront. His designs and executed
buildings are the result of incorporating
additional concepts into the architectural
discussion, such as style without style,
spatial instinct, fusion of motifs, population
dynamics, biology, abstraction,
environmental transfer, new geometry and
so on. As these merge, new types of
building invariably arise.
I shall highlight here just one of the many
buildings on which Semir Zubevi has
been involved as a partner in Albert
Wimmers architects studio: the M-building,
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
u prvom planu.
Njegovi projekti i objekti su rezultat
ukljuivanja dodatnih pojmova u
arhitektonsku diskusiju, kao to su stil bez arhitekture 2008. u Beu (Gebaut 2008).
stila, prostorni instinkt, fuzija motiva,
dinamika stanovnitva, biologija,
Senei (SEND ARHITEKTURA) publicirali
su svoj golemi srednjoevropski
nastaju uvijek novi karakteri objekta.
Od brojnih realizacija na kojima je Semir
Zubevi uestvovao kao partner u
arhitektonskom uredu Albert Wimmer
izdvojit u ovdje samo M-building,
konferencijski centar Ujedinjenih naroda u
Beu (koautori Monika Purschke i Albert
Wimmer). Ova dogradnja kompleksa
Ujedinjenih naroda u Beu nagraena je
prvom nagradom na evropskom natjeaju.
Konferencijski centar je uz inovativni
pristup relaciji diplomacije i arhitekture, a
kroz invertiranu funkcionalnu shemu,
stvorio nove prostorne odnose na lokaciji.
Nina i eljko Katalini, nakon serije
kolskih i hotelskih objekata, posvetili su
se projektiranju niza bolnica od Indije,
sjeverne Afrike, do Austrije. Nerma
Linsberger kao partner u uredu INCL
uskoro e dovriti realizaciju stambenog
kompleksa Living Eleven, kao i Hotel St.
Daniel u Schladmingu. Mladen Jadri
the United Nations conference centre in
Vienna (co-designed by Monika Purschke
and Albert Wimmer). This extension to the
UN complex in Vienna, which was the
winning competition entry, is not only an
innovative approach to the relationship
between diplomacy and architecture, but,
with its inverted functional layout, has
created new spatial relations within the
site.
Following their designs for a series of
schools and hotels, Nina and eljko
Katalini are concentrating on designing a
number of hospitals, ranging from India and
North Africa to Austria. Nerma Linsberger, a
partner in the INCL office, will soon
complete the Living Eleven housing
complex and the St Daniel Hotel in
Schladming. Mladen Jadri Architects has
won many international awards and
accolades, including those for the new
Graphisoft congress centre in Budapest and
the best example of residential architecture
in Vienna in 2008 (Gebaut 2008).
In neighbouring Croatia, Davor and Vedrana
Senei (SEND ARHITEKTURA) have
published their vast central European
architectural oeuvre in two volumes. Part of
their corporate architecture opus on Vipnet
has also recently been presented to
professional circles in Oris (the itnjak
IN BIH 1995-2010
Architects dobitnik je brojnih
meunarodnih priznanja, izmeu ostalog
za novi kongresni centar Graphisofta u
Budimpeti i najbolju realizaciju stambene
U susjednoj Hrvatskoj Davor i Vedrana
arhitektonski opus u dvije knjige. Dio
opusa korporativne arhitekture izraen za
Vipnet strunoj publici je prezentiran
nedavno i u Orisu (Upravna zgrada itnjak).
U Norvekoj djeluje na teoretskom i
praktinom planu Mirza Mujezinovi sa
MALARCHITECTURE, Lidija i Relja Ferui
aktivni su i u Barceloni i u Sarajevu, a
Selma Harington iz Irske trenutno je
predsjednica The Architects Council of
Europe (ACE).
Alen Jaarevi prakticira i predaje na
Arhitektonskom fakultetu u Augsburgu.
Islamisches Forum Penzberg bio je
nominiran za Mies van der Rohe Preis i
jedan je od najzanimljivijih projekata iz
oblasti sakralne arhitekture posljednjih
godina. Ovaj objekt bio je u fokusu
interesiranja i u vrijeme brojnih diskusija
oko izgradnje damija u Evropi.
Struni i dnevni listovi jednoglasno su
headquarters).
Mirza Mujezinovi is working in both theory
and practice in Norway with his
MALARCHITECTURE, Lidija and Relja Ferui
are active in both Barcelona and Sarajevo,
and Ireland-based Selma Harrington is
currently chair of the Architects Council of
Europe (ACE). Alen Jaarevic both practises
and teaches at the Faculty of Architecture in
Augsburg. The Islamisches Forum Penzberg
has been nominated for the Mies van der
Rohe Prize, and is one of the most
interesting designs in the field of religious
architecture of recent years. It has been
also been at the centre of interest during
many debates concerning the construction
of mosques in Europe. Both professional
journals and daily newspapers have been
unanimous in highlighting positive
examples of the modern approach to this
topic and its valuable contribution to inter-
religious and cross-cultural dialogue in
modern European cities.
Architects from Bosnia and Herzegovina
were involved from the outset in the
Europan project. As fate would have it, it
was architects from the diaspora who were
actively engaged in the project, probably
the only effective European platform for
young architects to exchange ideas.
Unfortunately, despite winning first prizes
29
 isticali pozitivan primjer suvremenog
pristupa ovoj temi i kvalitetan doprinos
meureligijskom i interkulturnom dijalogu
u suvremenom evropskom gradu.
Bosanskohercegovaki arhitekti sudjelovali
su od samog poetka u projektu Europana.
Igrom sudbine, na ovoj vjerojatno jedinoj
funkcionirajuoj evropskoj platformi za
razmjenu ideja mladih arhitekata, aktivniji
su bili arhitekti iz dijaspore. Na alost,
unato osvojenim prvim nagradama i
priznanjima: Europan 4 Helsinki (Mladen
Jadri & Nevil Binder), Europan 5 Turku
(Mladen Jadri), Europan 8 Be (Mirza
Mujezinovi & Sinia Lei), ideja Europana
nije uspjela, to zbog rata to zbog
poslijeratne izolacije, uspostaviti kontakt s
mladim arhitektima u zemlji, niti pronai
politiku podrku djelovanja. Nakon
organiziranja Europana u Bosni i
Hercegovini, mladim je kolegama ostala
samo mogunost pasivnog sudjelovanja na
ovom natjeaju.
GOOD LUCK
Usprkos potekoama proteklih godina,
danas se naziru poeci arhitektonskog
diskursa u Bosni i Hercegovini:
organiziranje kolega u asocijacije i komore,
diskusije u javnim glasilima, funkcionirajui
struni asopisi, web portali i ponovna
and accolades Europan 4, Helsinki
(Mladen Jadri & Nevil Binder), Europan 5,
Turku (Mladen Jadri), Europan 8, Vienna
(Mirza Mujezinovi & Sinia Lei) the liberalized will not eliminate overnight all
Europan idea failed to establish contact
with young architects at home, whether
because of the war or because of post-war
isolation, and also failed to gain political
support for its activities. Following the
establishment of Europan in Bosnia and
Herzegovina, our young colleagues are able
to enjoy no more than passive involvement
in the competition.
GOOD LUCK
Despite all the difficulties of the past few
years, the first green shoots of architectural
discourse in Bosnia and Herzegovina are
emerging: the formation of professional
associations and chambers, discussions in
the press, the launch of professional
journals and web portals, and renewed
mobility for the countrys architects.
The visa system has held back cultural
exchanges with colleagues abroad, which
has impacted most severely on young
people, preventing them from continuing
their training or even turning frustration
into animosity towards everything that is
not regional.
30 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
mobilnost arhitekata.
Sistem viza unazadio je kulturnu razmjenu
s kolegama izvan Bosne i Hercegovine, a
posljedice su najvie trpjeli mladi, koji su ili
bili onemogueni proiriti svoju edukaciju,
ili su pak uslijed frustracije razvili
animozitete prema svemu to nije
regionalno.
Usklaivanje sistema edukacije s
Bolonjskom deklaracijom i unaprjeenje
mobilnosti, pod uvjetom najavljene
liberalizacije viznog rezima, nee ukloniti
preko noi sve zaostatke NERMA LINSBERGER
bosanskohercegovake arhitektonske
scene, ali e proiriti vidike mladih kolega i
donijeti svjeinu promjene u arhitektonske
kole i praksu. Bosanskohercegovaki
strunjaci koji su vani mogli bi, bolje
organizirani, efikasnije potpomoi procesu
evropskih integracija. NEVIL BINDER - Skola Monta Laa, Wien
Arhitektonska komora, ija je ideja
inicirana ove godine, nesumnjivo bi
doprinijela poboljanju statusa arhitekata u
Bosni i Hercegovini i preuzela moderaciju
mnogobrojnih nerijeenih pitanja izmeu
organizacionih jedinica.
Jedan od prvih materijalnih dokaza koji
daju razlog za optimizam je i ova knjiga.
MLADEN JADRIC - Wha Welingergasse
ringing the education system into line with
the Bologna Declaration and increasing
mobility once the promised visa regime is MLADEN JADRIC - Wha Welingergasse
the shortcomings of the architectural scene
in Bosnia and Herzegovina, but they will
broaden the outlook of young colleagues
and breathe fresh air into schools of
architecture and architectural practice.
Bosnia and Herzegovinas professionals
abroad could, if better organized, be more
MLADEN JADRIC - Wha Welingergasse
effective in driving forward the process of
European integration.
A Chamber of Architecture, the idea of
which was launched this year, would
certainly help to improve the standing of
architects in Bosnia and Herzegovina and
would take over the role of moderator in
addressing many unresolved issues between
various organizations.
And this book is one of the first physical
signs that give cause for optimism.
VOLIC ADEMIR I MIRJAM - Essex Road DAVOR SENECIC - Poslovni centar Zitnjak - VIP
IN BIH 1995-2010 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 31
 TIMELINE TIMELINE

Timeline
Hronoloki pregled nagraenih arhitektonskih i urbanistikih
ideja i ostvarenja, znaajnih izlobi, publikacija i radionica
vezanih za drutveno-kulturna deavanja u Bosni i Hercegovini
u periodu od 1995. do 2010. godine

Chronological overview of winning architectural and planning

designs and executed projects, major exhibitions, publications
and workshops relating to socio-cultural events in Bosnia and
Herzegovina from 1995 to 2010 Izlobe
Exhibitions
Publikacije
Publications
Radionice
Workshops
Nagrade
Prize-winning entries
Natjeaji
Competitions
Prezentacije/
Presentations/
seminari/
seminars/
manifestacije
events

32 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 33

 TIMELINE
1995
Knjiga Ivan traus: Arhitekt i barbari,
Meunarodni centar za mir, Sarajevo
Knjiga je izvorno izdata 1994. godine na
francuskom jeziku i internacionalno je
promovirana u Francuskoj:
Ivan traus: Sarajevo- L` architecture et
les barbares, Linteau, Paris Skenirati
naslovnu knjige
Izloba Warchitecture organizovana je
od strane Asocijacije arhitekata Sarajeva
na temu Urbicid u Sarajevu 1992-1995
i realizovana je irom Evrope.
Izloba Start for Action organizovana je
od strane Asocijacije studenata
arhitekture Sarajeva na temu urbicida
92-95 i rekonstrukcije grada Sarajeva i
realizovana je irom Evrope.
Izloba Sarajevo: Dream and Reality,
Parsons School of Design, New York.
Rekonstrukcija i razvoj Sarajeva i Bosne i
Hercegovine
Uesnici: studenti arhitekture
Univerziteta u Sarajevu i BH arhitekti.
34 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Ivan traus: Arhitekt i barbari,
International Peace Centre, Sarajevo
The book was originally published in
French in 1994 and received its
international launch in France as:
Ivan traus: Sarajevo - L`architecture et les
barbares, Linteau, Paris
Exhibition: Warchitecture organized by
the Architects Association of Sarajevo on
the subject of Urbicide in Sarajevo 1992-
1995, and shown throughout Europe.
Exhibition: Start for Action organized by
the Architecture Students Association of
Sarajevo on the subject of urbicide 92-95
and the reconstruction of the city of
Sarajevo, and shown throughout Europe.
Exhibition: Sarajevo: Dream and Reality,
Parsons School of Design, New York.
The reconstruction and development of
Sarajevo and Bosnia and Herzegovina.
Participants: architecture students from
the University of Sarajevo and BH
architects.
IN BIH 1995-2010
TIMELINE
1996
Odran prvi domai arhitektonski
konkurs Otoka-meander
Autori prvonagraenog rada su efka
Jamakovi i Said Jamakovi
Radionica Otvoreni javni prostor
odrana je u Sarajevu uz uee
Arhitektonskog fakulteta u Sarajevu i TU
Radionica Vision for Sarajevo odrana
je u Minhenu, uz uee Arhitektonskog
fakulteta u Sarajevu,TU Wien, TU Berlin,
TU Braunschweig, HTWK Leipzig, TU
Munchen i Bauhaus-University Weimar
Retrospektivna izloba i monografski
katalog
Arhitekti akademici Bosne i
Hercegovine
Architects Academicians of Bosnia and
Herzegovina
Architectes acadeniciens de Bosnie-
herzegovine
(Jahiel Finci, Muhamed Kadi, Husref
Redi, Juraj Neidhardt, Ivan traus,
ivorad Jankovi, Zlatko Ugljen)
Autor: Ivan traus, Akademija nauka i
umjetnosti Bosne i Hercegovine
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
First local architecture competition:
Otoka-meander
Winning design by efka Jamakovi and
Said Jamakovi
Workshop: Public open space, held jointly
in Sarajevo by the Faculty of Architecture
in Sarajevo and TU Graz
Workshop: Vision for Sarajevo, held
jointly in Munich by the Faculty of
Architecture in Sarajevo, TU Vienna, TU
Berlin, TU Braunschweig, HTWK Leipzig,
TU Munchen and Bauhaus-University
Weimar
Retrospective exhibition and catalogue-
monograph:
Arhitekti akademici Bosne i Hercegovine
Architects Academicians of Bosnia and
Herzegovina
Architectes academiciens de Bosnie-
herzegovine
(Jahiel Finci, Muhamed Kadi, Husref
Redi, Juraj Neidhardt, Ivan traus,
ivorad Jankovi, Zlatko Ugljen)
Designer: Ivan traus, Academy of Sciences
and Arts of Bosnia and Herzegovina
IN BIH 1995-2010 35
 TIMELINE
1997
Radionica Urban Discontinuity odrana
u Sarajevu uz uee Arhitektonskog
fakulteta u Sarajevu,TU Graz, TU
Braunschweig, ETSAB Barcelona, TU
Delft, University Stuttgart, TU Munich i
HTWK Leipzig.
III radionica & simpozij Mostar 2004 u
organizaciji Research Center For Islamic
History, Art and Culture (IRCICA)-
Istanbul i Grada Mostara.
Prva dva puta projekat Mostar 2004
realizovan je tokom 1995. i 1996. u
Istanbulu. A tek od 1997. poinje se
godinje odravati u kontinuitetu u
Mostaru, sve do 2004. godine- do
zavretka obnove Starog Mosta.
36 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Workshop: Urban Discontinuity, held
jointly in Sarajevo by the Faculty of
Architecture in Sarajevo, TU Graz, TU
Braunschweig, HTWK Leipzig, ETSAB
Barcelona, TU Delft, University Stuttgart,
TU Munich and Bauhaus-University
Weimar
III Workshop & symposium Mostar 2004,
held by the Research Center for Islamic
History, Art and Culture (IRCICA), Istanbul
and the City of Mostar. The first two
Mostar 2004 events were held in 1995
and 1996 in Istanbul. The event was then
held in Mostar each year from 1997 to
2004 when the reconstruction of the Old
Bridge was completed.
IN BIH 1995-2010
TIMELINE
1998
Prvi poslijeratni SALON ARHITEKTURE
COLLEGIUM ARTISTICUM 1998, na
kojem su dodijeljene slijedee nagrade:
ideja:
Sanja Gali-Grozdani i Igor Grozdani
Meander Otoka-Sarajevo
realizacija:
Dropi Husejn i Dropi Mehmed
Damija, Soline-Tuzla
GRAND PRIX:
Jadri Mladen, Binder Nevil
Europan Helsinki, Finland
Salon COLLEGIUM ARTISTICUM
predstavlja godinju kolektivnu izlobu
Udruenja likovnih umjetnika Bosne i
Hercegovine (ULUBiH), Udruenja
likovnih umjetnika primijenjenih
umjetnosti i dizajnera (ULUPBiH) i
Asocijacije arhitekata Bosne i
Hercegovine (AABiH). Uspostavljen je
1975. godine kao naslijee istoimenog
umjetnikog i kulturnog pokreta iz
1939.godine, te se odrava
tradicionalno uz dan obiljeavanja
6.aprila- dana osloboenja grada
Sarajeva u II svjetskom ratu.
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Internacionalni arhitektonski konkurs
Koncertna dvorana Sarajevo
u organizaciji Grada Rima.
Autori prvonagraenog rada su: Andrew
Yau (Hong Kong), Denis Balent
(Slovacchia), Claudio Lucchesi (Italy),
Jonas Lundberg (Sweden), Katarina
Larsdotter (Sweden), Steve Hardy (USA).
Knjiga Ivan traus: Arhitektura Bosne i
Hercegovine 1945-1995, Oko, Sarajevo
First post-war COLLEGIUM ARTISTICUM
ARCHITECTURE SALON 1998, at which the
following prizes were awarded:
design:
Sanja Gali-Grozdani and Igor Grozdani
Meander Otoka-Sarajevo
execution:
Dropi Husejn and Dropi Mehmed
Mosque, Soline-Tuzla
GRAND PRIX:
Jadri Mladen, Binder Nevil
Europan Helsinki, Finland
IN BIH 1995-2010
The COLLEGIUM ARTISTICUM salon is an
annual exhibition held jointly by the
Artists Association of Bosnia and
Herzegovina (ULUBiH), the Fine Arts,
Applied Arts and Design Association
(ULUPBiH), and the Architects Association
of Bosnia and Herzegovina (AABiH). It was
established in 1985 as the successor to
the eponymous artistic and cultural
movement set up in 1939, and is
traditionally held on 6 April, the
anniversary of the liberation of the city of
Sarajevo in World War II..
International architecture competition:
Sarajevo concert hall held by the City of
Rome.
Winning design by: Andrew Yau (Hong
Kong), Denis Balent (Slovakia), Claudio
Lucchesi (Italy), Jonas Lundberg (Sweden),
Katarina Larsdotter (Sweden), Steve Hardy
Ivan traus: Arhitektura Bosne i
Hercegovine 1945-1995, Oko, Sarajevo
37
 TIMELINE TIMELINE

2000
1999

SALON ARHITEKTURE COLLEGIUM
ARTISTICUM 1999, na kojem su
dodijeljene slijedee nagrade:
ideja:
Aida Daidi, Namik Mufti
Damija, Ilija
realizacija:
Sanda Popovac
Scenografija Va lager sezone 99.
GRAND PRIX:
Amir Vuk-Zec
Rekonstrukcija i adaptacija Vila Vidovi,
Sarajevo
Prvi internacionalni urbanistiki
konkurs: Zone C i C1 na Marijin Dvoru
Sarajevo, odran je u saradnji Vlade
sarajevskog kantona i Univerziteta u
Sarajevu, Kantonalnog zavoda za
planiranje Sarajevo i Internacionalne
unije arhitekata- UIA.
II nagradu su podijelili autorski tim
Dario Gabri i Stela Gabri (Split,
Hrvatska) i autor Ernst Friedrich Krieger
(Darmstadt, Njemaka).
COLLEGIUM ARTISTICUM ARCHITECTURE
SALON 1999, at which the following
prizes were awarded:
design:
Aida Daidi, Namik Mufti
Mosque, Ilija
execution:
Sanda Popovac
Scenography: Va lager Ssezone 99. Sead Golo, Amir Vuk-Zec
GRAND PRIX:
Amir Vuk-Zec
Reconstruction and adaptation of the
Vidovi Villa, Sarajevo Fig. 24
First international town planning
competition: Zones C and C1 at Marijin
Dvor, Sarajevo, held in association with the
Government of Sarajevo Canton and the
University of Sarajevo, the Cantonal
Planning Authority and the International
Union of Architects (UIA).
2nd prizes awarded to Dario Gabri and
Stela Gabri (Split, Croatia) and Ernst
Friedrich Krieger (Darmstadt, Germany).
SALON ARHITEKTURE COLLEGIUM
ARTISTICUM 2000, na kojem su
dodijeljene slijedee nagrade:
ideja:
Nevil Binder, Jorg Urlesberger, Wolfgang
Oberlik
Kunsthaus-Graz
realizacija:
Sead Golo, Amir Vuk-Zec
Enterijer INAT kue
Radionica Forum 2004 odrana je u
Sarajevo uz uee Arhitektonskog
fakulteta u Sarajevu i ETSAB Barcelona.
Izloba Boris Podrecca odrana u
Sarajevu Foto
COLLEGIUM ARTISTICUM ARCHITEC CTURE
SALON 2000, at which the following
prizes were awarded:
design:
Nevil Binder, Jorg Urlesberger, Wolfgang
Oberlik
Kunsthaus-Graz
execution:
Interior of the INAT kua
Workshop: Forum 2004 held jointly in
Sarajevo by the Faculty of Architecture in
Sarajevo and ETSAB Barcelona.
Exhibition: Boris Podrecac held in
Sarajevo Fig.

38 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 39

 TIMELINE
2001
Monografija:
Akademija nauka i umjetnosti Bosne i
Hrecegovine obiljeava stogodinjicu
(1901-2001) roenja akademika Juraja
Neidharta
Urednik: prof akademik Zlatko Ugljen
X Bijenale mladih umjetnika Evrope i
Mediterana (BJCM):
Sarajevo 2001- Haos i komunikacija
odrano je u Sarajevu u organizaciji
Grada Sarajeva, Kantona Sarajevo i
Meunarodnog festivala Sarajevo
Sarajevska Zima.
SALON ARHITEKTURE COLLEGIUM
ARTISTICUM 2001, na kojem su
dodijeljene slijedee nagrade:
ideja:
Sanja Gali-Grozdani i Igor Grozdani
SARAJEVO NON-STOP CITY Zona CC1
Marijin Dvor, Sarajevo
GRAND PRIX:
Ferhad Mulabegovi
Rekonstrukcija historijskog objekta
Glavne Pote u Sarajevu
40 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Monograph:
Academy of Sciences and Arts of Bosnia
and Herzegovina, to mark the centenary
(1901-2001) of the birth of Academician
Juraj Neidhart
Ed: Prof. Academician Zlatko Ugljen
X Biennale of the Association Biennale des
jeunes crateurs de lEurope et de la
Mditerrane (BJCEM):
Sarajevo 2001 Chaos and
Communication held jointly in Sarajevo by
the City of Sarajevo, Sarajevo Canton and
the Sarajevo Winter International Festival.
COLLEGIUM ARTISTICUM ARCHITECTURE
SALON 2001, at which the following
prizes were awarded:
design:
Sanja Gali-Grozdani and Igor Grozdani
SARAJEVO NON-STOP CITY Zone CC1
Marijin Dvor, Sarajevo
GRAND PRIX:
Ferhad Mulabegovi
Reconstruction of the historic building of
the Central Post Office in Sarajevo
IN BIH 1995-2010
TIMELINE
2002
2001/2002
Virtual Museum- Ars Aevi the living
museum
Multikulturalni seminari Art Artist-
Museum odrani su okviru programa
Otvoreni internacionalni univerzitet Ars
Aevi.
Zapoinje niz predavanja i kurseva sa
znaajnim predavaima iz svjetskog
umjetnikog i kulturnog ivota.
Otvoren pjeaki most Ars Aevi preko
rijeke Miljacke u Sarajevu, arhitekte i
investitora Renzo-a Piano-a.
Most predstavlja prvu etapu ka
realizaciji kompleksa Muzeja suvremene
umjetnosti Ars Aevi, prema projektu
arhitekte Renzo-a Piano-a iz
2001.godine. Ideja, strategija i koncept
internacionalnog Projekta ARS AEVI -
Muzej/Centar Moderne Umjetnosti
Sarajevo formirana je jo 1992.godine.
Monografija
Stane Bernik: Arhitekt Architect Zlatko
Ugljen, Meunarodna galerija portreta,
Tuzla Foto 34a nedostaje
Monografija
Ivan traus Arhitekt, Blicdruk, Sarajevo
Internacionalni konkurs Mostar Studio
Urbanistiki dizajn zone Sjevernog
Logora organiziran od strane: The
Research Center For Islamic History, Art
and Culture -Istanbul, Aga Khan Trust
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
for Culture- Geneva, World Monument
Fund-NewYork, World Bank- Washington,
Univerzitet u Zagrebu i Univerzitet u
Sarajevu.
SALON ARHITEKTURE COLLEGIUM
ARTISTICUM 2002, na kojem su
dodijeljene slijedee nagrade:
ideja:
Kapidi Faruk
Olimpijski bazen Otoka, Sarajevo
realizacija:
Amir Vuk-Zec
Restoran Vf-Korea, Sarajevo
GRAND PRIX:
Sead Golo
Kafe bar i kiosk na aerodromu Sarajevo /
Obiteljska kua, Sarajevo
Virtual Museum- Ars Aevi the living
museum
Multicultural seminars: Art Artist
Museum held under the auspices of the
Ars Aevi International Open University
programme.
Launching a series of lectures and courses
with leading lecturers from the
international art and cultural scene.
Opening of the Ars Aevi footbridge over
the River Miljacka in Sarajevo, designed
and financed by Renzo Piano.
The bridge is the first stage in the
execution of the Ars Aevi Museum of
Contemporary Art complex, designed in
IN BIH 1995-2010
2001 by Renzo Piano. The design,
strategy and concept of the international
ARS AEVI project the Sarajevo
Museum/Centre of Modern Art took
shape in 1992.
Monograph
Stane Bernik: Arhitekt Architect Zlatko
Ugljen, International Portrait Gallery, Tuzla
Monograph:
Ivan traus Arhitekt, Blicdruk, Sarajevo
International competition: Mostar Studio
urban planning design for the North
Camp zone, held jointly by the Research
Center for Islamic History, Art and Culture
(IRCICA), Istanbul, the Aga Khan Trust for
Culture, Geneva, the World Monument
Fund, New York, the World Bank,
Washington, the University of Zagreb and
the University of Sarajevo. Fig. 36
nedostaje
COLLEGIUM ARTISTICUM ARCHITECTURE
SALON 2002, at which the following
prizes were awarded:
design:
Kapidi Faruk
Otoka Olympic pool, Sarajevo
execution:
Amir Vuk-Zec
Vf-Korea Restaurant, Sarajevo
GRAND PRIX:
Sead Golo
Caf bar and kiosk at Sarajevo Airport /
Family house, Sarajevo
41
 TIMELINE
2003
III Urbanistika konferencija Prostor je
infrastruktura nae budunosti odrana
je u Sarajevu u organizaciji Graanskog
foruma za urbani razvoj -URBforum
Sarajevo.
Radionica Eco City Project - Banja Luka
odrana je na temu odrive i
bioklimatske arhitektura i urbanizma
kao naina dizajniranja Grada Banja
Luke
Izloba i radionica Go East
organizirane su od strane Grada Bea
(City of Wiena) i European forum
Alpbach uz uee Arhitektonskog
fakulteta u Sarajevu i TU Wien.
SALON ARHITEKTURE COLLEGIUM
ARTISTICUM 2003, na kojem su
dodijeljene slijedee nagrade:
ideja:
Aida Daidi
OHR Direkcija, Mostar
realizacija:
Amir Vuk-Zec
Turski info Centar, Sarajevo
GRAND PRIX:
Husejn Dropi
Stambeno-poslovni objekt, Tuzla
42 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
III Town Planning Conference: Space is
the infrastructure of our future, held in
Sarajevo by the Sarajevo Urban
Development Forum.
Workshop: Eco City Project Banja Luka
held on the subject of sustainable, green
architecture and town planning as the way
to design the city of Banja Luka
Exhibition and Workshop: Go East held
jointly by the City of Vienna and the
European forum Alpbach in association
with the Faculty of Architecture in
Sarajevo and TU Wien.
COLLEGIUM ARTISTICUM ARCHITECTURE
SALON 2003, at which the following
prizes were awarded:
design:
Aida Daidi
OHR Head Office, Mostar
execution:
Amir Vuk-Zec
Turkish Information Centre, Sarajevo
GRAND PRIX:
Husejn Dropi
Mixed-use building, Tuzla
IN BIH 1995-2010
TIMELINE
2004
Radionica Architecture Sarajevo-
Nederland Housing for the futureu
organizaciji: University of Architecture
Sarajevo, TU Delft, TU Eindhoven i
Asocijacija arhitekata u BiH
Studijska izloba Alvar Alto Stambene
individualne kue i vile
Odrana je na Arhitektonskom fakultetu
u Sarajevu Foto
X radionica & simpozij Mostar 2004
organizovani su od strane Research
Center For Islamic History, Art and
Culture (IRCICA)- Istanbul i Grada
Mostara.
Zavretkom obnove historijske jezgre
grada Mostara sa rekonstrukcijom
Starog mosta zvanino je zavren
projekat Mostar 2004 koji je trajao od
1995.
SALON ARHITEKTURE COLLEGIUM
ARTISTICUM 2004, na kojem su
dodijeljene slijedee nagrade:
ideja:
Faruk Kapidi
Crkva Sv. Marija, Jajce
realizacija:
Adnan Drnda, Igor Gluac, Maja Drnda
Ford-Auto Centar, Sarajevo
GRAND PRIX:
Mladen Jadri
Arhitektonski paviljon, Sarajevo
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Workshop: Architecture Sarajevo-
Nederland Housing for the future, held
jointly by the Faculty of Architecture in
Sarajevo, TU Delft, TU Eindhoven and the
Architects Association of BiH
Study Exhibition: Alvar Alto private
houses and villas held at the Faculty of
Architecture in Sarajevo
10th Workshop & symposium: Mostar
2004 held jointly by the Research Center
for Islamic History, Art and Culture
(IRCICA), Istanbul and the City of Mostar.
The completion of the restoration of the
historic urban centre of the City of Mostar
and the reconstruction of the Old Bridge
officially marked the end of the Mostar
2004 project begun in 1995. Fig. 48
nedostaje 2004
COLLEGIUM ARTISTICUM ARCHITECTURE
SALON 2004, at which the following
prizes were awarded:
design:
Faruk Kapidi
St Marys Church, Jajce
execution:
Adnan Drnda, Igor Gluac, Maja Drnda
Ford-Auto Centre, Sarajevo
GRAND PRIX:
Mladen Jadri
Architecture Pavilion, Sarajevo
IN BIH 1995-2010 43
 TIMELINE
2005
Stari Most i historijska jezgra grada
Mostara su uvrteni na UNESCO-vu listu
svjetske kulturne batine.
Stari most koji je sruen 1993. godine je
obnovljen 2004. godine
SALON ARHITEKTURE COLLEGIUM
ARTISTICUM 2005, na kojem su
dodijeljene slijedee nagrade:
ideja:
Aleksandar Cigan
Pravoslavna crkva, Sarajevo
realizacija:
Sanja Gali Grozdani, Igor Grozdani
Urgentni medicinski centar D-EUFOR,
Rajlovac
GRAND PRIX
Lidija Manueva
Enterijer poslovnog objekta Sedatex &
Pact S.L., Barcelona
Izloba Suvremena hrvatska
arhitektura- testiranje stvarnosti
Sarajevo
Izaao prvi broj strunog asopisa AGD
profi- Magazin za arhitekturu, gradnju i
dizajn
Izloba akademika Zlatka Ugljena u
okviru svjetskog kongresa
Internacionalne unije arhitekata- UIA u
Istanbulu.
44 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Inscription of the Old Bridge Area of the
Old City of Mostar on the UNESCO World
Heritage List. The Old Bridge, destroyed in
1993, was rebuilt in 2004.
COLLEGIUM ARTISTICUM ARCHITECTURE
SALON 2005, at which the following
prizes were awarded:
design:
Aleksandar Cigan
Orthodox Church, Sarajevo
execution:
Sanja Gali Grozdani, Igor Grozdani
D-EUFOR Emergency Medical Centre,
Rajlovac
GRAND PRIX
Lidija Manueva
Interior of the Sedatex & Pact S.L. office
building, Barcelona
Exhibition: Contemporary Croatian
Architecture testing reality
Publication of the first issue of the
professional journal AGD profi for
architecture, execution and design
60 (ponovo uslikati)
Exhibition: Academician Zlatko Ugljen
under the auspices of the World Congress
of the International Union of Architects
(UIA) in Istanbul. Fig. 57 nedostaje
IN BIH 1995-2010
TIMELINE
2006
Javna prezentacija finalnog
arhitektonskog projekta Ars Aevi
Muzeja Suvremene umjetnosti, prema
projektu arhitekte Renzo-a Piano-a je
odrana u Sarajevu.
Prva prezentacija je odrana u Veneciji
2005.godine
Seminar Susreti 2006 u okviru
programa Otvoreni internacionalni
univerzitet Ars Aevi.
Radionica City Along a Spine odrana
je u Sarajevu uz uee Arhitektonskog
fakulteta u Sarajevu i EASA Netherland.
Dodijeljena I nagrade za arhitekturu
Akademije nauka i umjetnosti Bosne i
Hercegovine (ANUBIH)
Velika nagrada za ivotno djelo:
Branko Buli
Godinja nagrada 2005/2006 za
najbolju realizaciju:
Sead Golo
Shopping centar Merkur, Sarajevo Foto
architecture awarded to:
SALON ARHITEKTURE COLLEGIUM
ARTISTICUM 2006, na kojem su
dodijeljene slijedee nagrade:
ideja:
Adnan Pai
Sjedite Islamke konferencije (O.I.C.),
JEDDAH, Saudijska Arabija
realizacija:
Husejn Dropi, Mehmed Dropi
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Bijela Damija, Brko design:
GRAND PRIX Adnan Pai
Ahmet Kapidi, Faruk Kapidi Headquarters of the Organization of
Poslovna zgrada ASA HOLDING, Sarajevo Islamic Conference (O.I.C.), Jeddah, Saudi
enterijer: Arabia
Kenan Hadovi, Lada Maglajli execution:
Butik Granoff, Sarajevo Husejn Dropi, Mehmed Dropi
White Mosque, Brko
Public presentation of the final GRAND PRIX
architectural design for the Ars Aevi Ahmet Kapidi, Faruk Kapidi
Museum of Modern Art, by architect Renzo ASA HOLDING office building, Sarajevo
Piano, held in Sarajevo. interior:
Kenan Hadovi, Lada Maglajli
The first presentation was held in Venice
Granoff Boutique, Sarajevo
in 2005
Seminar: Encounters 2006 under the
auspices of the Ars Aevi International
Open University. Fig. 58a nedostaje
Workshop: City Along a Spine, held jointly
in Sarajevo by the Faculty of Architecture
in Sarajevo and EASA Netherlands.
Academy of Sciences and Arts of Bosnia
and Herzegovina (ANUBiH) prizes for
Lifetime achievement award:
Branko Buli
Annual prize for best execution
2005/2006:
Sead Golo
Merkur Shopping Centre, Sarajevo
COLLEGIUM ARTISTICUM ARCHITECTURE
SALON 2006, at which the following
prizes were awarded:
IN BIH 1995-2010 45
 TIMELINE
2007
Viegradski most Mehmed pae Sokolovia
uvrten je na UNESCO-vu listu svjetske kulturne
batine, kao drugi spomenik iz Bosne i
Hercegovine.
Na privremenoj UNESCO-voj listi nalazi se sedam
spomenikih cjelina iz Bosne i Herecegovine.
ivorad Jankovi: Muhamed Kadi- ivot i djelo,
Akademija nauka i umjetnosti Bosne i
Hercegovine/ Bonjaki institut- Fondacija Adil
Zulfikarpai
Izloba Recentna hrvatska arhitektura odrana je
u Sarajevu u organizaciji Udruge hrvatskih
arhitekata (UHA) Foto 66 nedostaje 2007
Nagrada WTM Best Stand Feature Award
Svjetske turistike berze u kategoriji za najbolji
paviljon je dodijeljena:
Adnan Drnda, Igor Gluac
Paviljon Bosne i Hercegovine - Bosanski toak
Ovo priznanje je ujedno prva internacionalna
nagrada bh arhitekata nakon rata. Bosna i
Hercegovina je po prvi put uestvovala na WTM
sajmu odranom u Londonu.
Nagrada za arhitekturu Akademije nauka i
umjetnosti Bosne i Hercegovine (ANUBIH)
Velika nagrada za ivotno djelo:
Halid Muhasilovi
Godinje nagrade 2006/2007 za najbolju
realizaciju:
Branislav Stojanovi, Dalibor Bjelica
Gradska trnica, Banja Luka
Duan Jovanovi, Zorica Penuliski
Ona je pametna kua, Sarajevo Foto
SALON ARHITEKTURE COLLEGIUM ARTISTICUM
2007, na kojem su dodijeljene slijedee nagrade:
ideja:
Husejn Dropi
Kliniki centar Srce, Tuzla
realizacija:
Amir Vuk- Zec, Kenan Brkalija
Damija, Ostojii, Bjelanica
realizirani enterijer:
Amir Vuk-Zec
46 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Caffe Trendy, Podgorica / Crna Gora
GRAND PRIX:
Sanja Gali Grozdani, Igor Grozdani
Centralni sadraji Bjelanica II
specijalna nagrada:
Alen Jaarevi
Islamski forum, Pentsberg, Njemaka
Internacionalna nagrada XVI CEMEX Building
Award je po prvi put dodijeljena na prostoru
Bosne i Hercegovine:
U kategoriji javne i poslovne graevine:
Slobodan Stupar (Banja Luka)
Poslovna zgrada Hypo Group Alpe Adria, Banja
Luka
U kategoriji infrastrukturne graevine:
Nina Komac, Miha Koir, Urka Kranjc, Duan
Stupar, Ana krabar, Luka Vidic, ivka krabar
(Slovenia)
Rekonstrukcija parka Petar Koi, Banja Luka execution:
U kategoriji stambene graevine: Ljetnjikovac
Radobolja
Inscription of the Mehmed Pasha Sokolovi Bridge
in Viegrad on the UNESCO World Heritage List, the
second monument in Bosnia and Herzegovina to be
granted World Heritage status. Seven groups of
monuments/buildings in Bosnia and Herzegovina
are on the UNESCO Tentative List. Fig.
ivorad Jankovi: Muhamed Kadi - ivot i djelo,
Academy of Sciences and Arts of Bosnia and
Herzegovina/Bosniac Institute, Adil Zulfikarpai
Foundation. Fig. 66a nedostaje 2007
Exhibition: Recent Croatian Architecture, held in
Sarajevo by the Croatian Architects Association
(UHA)
WTM Best Stand Feature Award, to:
Adnan Drnda, Igor Gluac
Bosnia and Herzegovina stand The Bosnian
Wheel
This is the first international award won by
architects from Bosnia and Herzegovina since the
war. This was also Bosnia and Herzegovinas first
IN BIH 1995-2010
appearance at the World Travel Market held in
London.
Academy of Sciences and Arts of Bosnia and
Herzegovina (ANUBiH) prizes for architecture
awarded:
Lifetime achievement award:
Halid Muhasilovi
Annual prize for best execution 2006/2007:
Branislav Stojanovi, Dalibor Bjelica
Central Market Hall, Banja Luka
Duan Jovanovi, Zorica Penuliski
The Smart House, Sarajevo Fig. 68 nedostaje
COLLEGIUM ARTISTICUM ARCHITECTURE SALON
2007, at which the following prizes were awarded:
design:
Husejn Dropi
The Srce (Heart) Clinical Centre, Tuzla
Amir Vuk- Zec, Kenan Brkalija
Mosque, Ostojii, Bjelanica
execution, interior:
Amir Vuk-Zec
Caf Trendy, Podgorica, Montenegro
GRAND PRIX:
Sanja Gali Grozdani, Igor Grozdani
Central Facilities Bjelanica II
special award:
Alen Jaarevi
Islamic Forum, Pentsberg, Germany
International award: XVI CEMEX Building Award
awarded in Bosnia and Herzegovina for the first
time:
Institutional-industrial category:
Slobodan Stupar (Banja Luka)
Hypo Group Alpe Adria office building, Banja Luka
Infrastructure category:
Nina Komac, Miha Koir, Urka Kranjc, Duan Stupar,
Ana krabar, Luka Vidic, ivka krabar (Slovenia)
Reconstruction of the Petar Koi Park, Banja Luka
Housing category: Ljetnjikovac Radobolja
TIMELINE
2008
Izaao prvi broj strunog asopisa PROSTOR- Upravna zgrada Elektroprivreda HZ-HB, Mostar
Magazin za arhitekturu i dizajn, Banja Luka
XIII Bijenale mladih umjjetnika Evrope i
Mediterana (BJCM) Kairos, Puglia, Italija.
ARH.I.TETKAS, Sarajevo
Senka Ibriimb begovi, Nermiina Zagora, Dina
imii
Multisenzorijski centar Gradovi na turneji
Armiina Pilav:
Under Recycling-transformacija stare fabrike
arapa Klju
Nagrada za arhitekturu Akademiije nauka i
umjetnosti Bosne i Hercegovine (ANUBIH)
Velika nagrada za ivotno djelo:
Bogoljub Kurpjel Foto 78 2008
17. Meunarodni Salon urbanizma, u organizaciji
Udruenja urbanista Srbije, dodjeljuje prvu
nagradu u kategoriji Urbanistiki projekti i
realizacije Zavodu za planiranje razvoja Kantona
Sarajevo.
Autori: Said Jamaakovi, Aida Halilagi:
Urbanistiki projekat Autobuska Stanica
SALON ARHITEKTURE COLLEGIUM ARTISTICUM
2008, na kojem su dodijeljene slijedee nagrade:
ideja: Aleksandar Cigan
Sportsko rekreativni centar Edhem Mulabdi,
Bistrik, Sarajevo
realizacija:
Emir Duvi, Nedad Mulaome erovi
Poslovni objekt Raiffeisen Bank, Zenica
realizirani enterijer:
Emir Halilagi
Robna kua sportske opreme Sport life, Sarajevo
GRAND PRIX:
Edin Huseti, Aida Huseti
Idejno rjeenje gradske Otoke, Biha
Internacionalna nagrada XVII CEMEX Building
Award je dodijeljena:
U kategoriji javne i poslovne graevine:
Tihomiir Rozi (Mostar)
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
awarded to the Sarajevo Canton Planning and
U kategoriji infrastrukturne graevine: Development Authority.
Projekt a.d. Banja Luka Designers: Said Jamakovi, Aida Halilagi:
Urbane rekonstrukcije i obnove sredita grada Bus Station planning project
Banja Luke
U kategoriji stambene graevine: COLLEGIUM ARTISTICUM ARCHITECTURE SALON
Adnan Drnda (Sarajevo) 2008, at which the following prizes were awarded:
Stambeno-poslovna zgrada irbegovi Marijin design:
Dvor, Sarajevo Aleksandar Cigan
Edhem Mulabdi Sports and Recreation Centre,
Meunarodna nagrada Ranko Radovi 2008, u Bistrik, Sarajevo
organizaciji Udruenja likovnih umetnika execution:
primenjenih umetnosti i dizajnera Srbije, u Emir Duvi, Nedad Mulaomerovi
kategoriji kritiko teorijski tekstovi o arhitekturi, Raiffeisen Bank office building, Zenica
urbanizmu i gradu, dodijeljena je knjizi Dizajn execution, interior:
sistemaa urbanog mobiliara i vizuelnih Emir Halilagi
komu unikacija autorice Ognjenke Finci. Izdavai Sport Life sports equipment store, Sarajevo
Asocijacija arhitekata Sarajeva (ASAS) i Buybook, GRAND PRIX:
Sarajevo, 2008. Edin Huseti, Aida Huseti
Autorica je za istu knjigu na XXI Meunarodnom Outline design for urban Otoka, Biha
sajmu knjiga i X bijenalu knjige u Sarajevu, dobila
Specijalno priznanje za djela iz umjetnosti. International award: XVII CEMEX Building Award
awarded to:
Publication of the first issue of the professional Institutional-industrial category: Tihomir Rozi
journal PROSTOR for architecture and design, Banja (Mostar)
Luka Fig. 77nedostaje XIII Biennale of the Elektroprivreda HZ-HB headquarters, Mostar
Association Biennale des jeunes crateurs de Infrastructure category: Projekt a.d. Banja Luka
lEurope et de la Mditerrane (BJCEM): Kairos, Urban Reconstruction and Restoration of the Centre
Puglia, Italy. of Banja Luka
Housing category: Adnan Drnda (Sarajevo)
ARH.I.TETKAS, Sarajevo irbegovi mixed-use building, Marijin Dvor,
Senka Ibriimbegovi, Nermina Zagora, Dina imi Sarajevo
Multisensory centre Cities on tour
Ranko Radovi 2008 International award, held by
Armina P ilav: Under Recycling transformation of the Fine Arts, Applied Arts and Design Association of
the old Klju socks and stockings factory Serbia, in the category of critical theoretical papers
on architecture, town planning and the city,
Academy of Sciences and Arts of Bosnia and awarded for the book Dizajn sistema urbanog
Herzegovina (ANUBiH) prizes for architecture mobiliara i vizuelnih komunikacija by Ognjenka
awarded: Lifetime achievement award: Bogoljub Finci, published by the Architects Association of
Kurpjel Sarajevo (ASAS) and Buybook, Sarajevo, 2008.
Ognjenka Finci also received a special prize for art
17th International Town Planning Salon, held by the books at the XXI International Book Fair and X
Town Planners Association of Serbia, first prize in
Books Biennale in Sarajevo.
the category Town Planning Design and Execution
IN BIH 1995-2010 47
 TIMELINE
2009
Formirano nevladino udruenje Nacionalni
komitet ICOMOS za Bosnu i Hercegovinu, to
predstavlja izuzetan profesionalni doprinos u
zaiti i ouvanju kulturne batine Bosne i
Hercegovine.
Meunarodni komitet za spomenike i spomenike
cjeline graditeljske batine (ICOMOS) je osnovan
1964.godine i danas djeluje kroz vie od 120
nacionalnih komiteta.
Meunarodna manifestacija Sedmica dizajna
Sarajevo 2009: Green Design
Prvi godinji SALON ARHITEKTURE I URBANIZMA
2008 Republike Srpske, u organizaciji Asocijacije
arhitekata Republike Srpske (SARS). Izloba je
obuhvatila radove u periodu od 1997 do 2007.
Velika nagrada Salona:
Republiki zavod za zatitu kulturno-istorijskog i
prirodnog naslijea RS
Obnova manastira itomisli, Rekonstrukcija
crkve Sv. Pavla u okviru Petropavlovskog
manastira u Trebinju, Restauracija Cekovia kue
na Palama
Posebna nagrada:
Milijana Okilj sa saradnicima
Arhitektura-realizacije: Nataa udurovi
Hypo-Alpe-Adria banka, Brko
Arhitektura-realizacije: Milan Aleksi
Kua Veinovi, Razboj
Arhitektura-projekti: Vuk Viekrune
Rekonstrukcija i redizajn fasade robne kue
Simpo, Prijedor
Urbanizam: Malina voro i Saa voro
Rekonstrukcija i ureenje ulice Kralja Petra
Oslobodioca, Prijedor
Enterijer: Vesna Manojlovi
Bobar banka, Banja Luka
Publikacija: Milenko Stankovi
Knjiga Harmonija i konflikt u prostoru
Priznanje salona: Urbanistiki zavod RS a.d. Banja
Luka, Branko Bojovi, Milan Bursa i Dalibor
Bjelica
48 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Prostorni plan RS-a do 2015 g.
Priznanje salona: Neboja Anteevi
Idejno rjeenje kue u tranziciji
Specijalno priznanje: Grupacija SEE WOOD
Radionica Metropolitan Transitions odrana u
Sarajevu, Parizu i Bejrutu uz uee
Arhitektonskog fakulteta u Sarajevu, ENSA Paris
La Villette i Academie Libanaise des Beaux-Arts
SALON ARHITEKTURE COLLEGIUM ARTISTICUM
2009, na kojem su dodijeljene slijedee nagrade:
ideja: Adnan Pai
Osnovna kola ip, Sarajevo
realizacija: Vedina Babahmetovi
Franizni centar Economic, Vitez
realizirani enterijer: Vedina Babahmetovi
Franizni centar Economic, Vitez
Formation of the National ICOMOS Committee for
Bosnia and Herzegovina, a non-governmental
organization, constituting an important professional
contribution to the protection and preservation of
the cultural heritage of Bosnia and Herzegovina.
The International Council on Monuments and Sites
(ICOMOS) was founded in 1964 and currently has
over 110 national committees.
International Design Week, Sarajevo 2009:
Green Design
First annual ARCHITECTURE AND TOWN PLANNING
SALON of Republika Srpska 2008, held by the
Architects Association of Republika Srpska (SARS).
The exhibition covered works for the period 1997 to
2007.
Salon Grand Prix:
Institute for the Protection of the Cultural and
Natural Heritage of RS
Restoration of the itomisli Monastery.
Reconstruction of St Pauls Church of the Monastery
of SS Peter and Paul in Trebinje. Restoration of the
Cekovi house in Pale
IN BIH 1995-2010
Special prize:
Milijana Okilj and associates
Architecture execution:
Nataa udurovi
Hypo-Alpe-Adria Bank, Brko
Architecture execution: Milan Aleksi
Veinovi house, Razboj
Architecture design: Vuk Viekrune
Reconstruction and redesign of the faade of the
Simpo Department Store, Prijedor
Town Planning: Malina voro and Saa voro
Reconstruction and refurbishment of King Petar the
Liberator Street, Prijedor
Interior: Vesna Manojlovi
Bobar Bank, Banja Luka
Publication: Milenko Stankovi
Harmonija i konflikt u prostoru
Salon recognition:
Planning Authority of RS a.d. Banja Luka, Branko
Bojovi, Milan Bursa and Dalibor Bjelica
Spatial plan for RS to 2015
Salon recognition:
Neboja Anteevi
Outline design for a house in transition
Special recognition: SEE WOOD Group
Workshop: Metropolitan Transitions, held jointly in
Sarajevo, Paris and Beirut by the Faculty of
Architecture in Sarajevo, ENSA Paris La Villette and
the Acadmie Libanaise des Beaux-Arts
COLLEGIUM ARTISTICUM ARCHITECTURE SALON
2009, at which the following prizes were awarded:
design:
Adnan Pai
ip Primary School, Sarajevo
execution:
Vedina Babahmetovi
Economic Franchise Centre, Vitez
execution, interior:
Vedina Babahmetovi
Economic Franchise Centre, Vitez
TIMELINE
2010
2009/10
Retrospektivna izloba i monografski
katalog Zlatko Ugljen arhitekt 50
godina umjetnosti graenja odrana u
apljini u organizaciji Zalobe Kralja
Tomislava.
Izloba je odrana i u Mostaru u okviru
manifestacije XII Dani Matice Hrvatske-
Mostarsko proljee 2010 Foto 90a
Paviljon Bosne i Hercegovine - EXPO
SHANGAI 2010. Bosna i Hercegovina se,
nakon rata, po prvi put predstavila na
Svjetskoj izlobi sa samostalnim
izlobenim paviljonom
Vanjsko rjeenje, autorski tim:
Miron Ibrahimpai, Lamila imii i
Jasmina Dizdarevi
Unutranje rjeenje, autorski tim:
Lorena elan, Dejan Kvesi i Kemal
Bezdrob
Nagrada Evropske unije za kulturno
naslijee -Europa Nostra 2010
dodijeljena je Komisiji za ouvanje
nacionalnih spomenika Bosne i
Hercegovine.
Evropsko priznanje dodijeljeno je u
kategorji III- za predanost u radu na
polju kontinuirane zatite kulturno-
historijskog naslijea. Foto 92 2010
Ivan traus: 99 arhitekata sarajevskog
kruga 1930-1990, TDK ahinpai/ BTC
ahinpai, Sarajevo Foto 92a nedostaje
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
SALON ARHITEKTURE COLLEGIUM Interior design by:
ARTISTICUM 2010, na kojem su Lorena elan, Dejan Kvesi and Kemal
dodijeljene slijedee nagrade: Bezdrob
ideja:
Sanja Gali-Grozdani, Igor Grozdani European Union Prize for Cultural Heritage
Meunardoni natjeaj Paromlin / Europa Nostra Award 2010 awarded to
Changing The Face Zagreb the Commission to Preserve National
Monuments of Bosnia and Herzegovina.
realizacija:
Kenan Hadovi The prize was awarded under category 3
Stambena zgrada Bolgrano, Sarajevo dedicated service.
realizirani enterijer:
Ivan traus: 99 arhitekata sarajevskog
Amir Vuk-Zec
kruga 1930-1990, TDK ahinpai/ BTC
Koliba, Jahorina
ahinpai, Sarajevo
2009/10 COLLEGIUM ARTISTICUM ARCHITECTURE
SALON 2010, at which the following
Retrospective exhibition and catalogue-
prizes were awarded:
monograph: Zlatko Ugljen arhitekt 50
design:
godina umjetnosti graenja (Zlatno Ugljen,
Sanja Gali-Grozdani, Igor Grozdani
architect: 50 years of the art of building),
Paromlin International Competition
held in apljina by the King Tomislav
Changing The Face Zagreb
Publishing House. The exhibition was also
execution:
held in Mostar under the auspices of the
Kenan Hadovi
XII Days of Matica Hrvatska Mostar
Bolgrano residential building, Sarajevo
Spring 2010 event. Fig. 90a
execution, interior:
Amir Vuk-Zec
Bosnia and Herzegovina stand EXPO
Koliba, Jahorina
SHANGAI 2010. For the first time since
the war, Bosnia and Herzegovina had its
own independent stand at this
international event
Exterior design by:
Miron Ibrahimpai, Lamila imii
andJasmina Dizdarevi
IN BIH 1995-2010 49
 Selektirani radovi za publikaciju
Selected works for publication

RESTART
ARHITEKTURA U BOSNI I HERCEGOVINI
ARCHITECTURE IN BOSNIA AND HERZEGOVINA
1995-2010

Identitet
Identity
56
Zajednica
Community
60
Privatnost
Privacy
120
Drutvo
Society
150

50 51
A Identitet je sve ono to neto ini istim ili razliitim. Ova definicija,
koja je prepisana hiljadu i pet stotina puta na world wide webu,
podvlai paradoksalnu prirodu svake situacije u kojoj je identitet
kontroverzan ili problematian.
Drugost i istost su dvije strane iste medalje. Simultanost slinosti i razlika otvara jednu bogatu panoramu
za opserviranje deavanja u Bosni i Hercegovini, zemlji koja je podijeljena na razliite kulturalne entitete,
koju ujedinjuju sve njene kulturalne distinkcije. Mada lina karta sugerira drugaije, identitet nikad nije
direktan, nedvosmislen, sveobuhvatan. Nita i niko se ne podudara u potpunosti sa jednim jedinim
identitetom.
U mjeri u kojoj je arhitektura produkt ili izraz identiteta, ona je uvijek tek parcijalna, to je evidentno i u
Bosni i Hercegovini, gdje je skorija povijest na tragian nain pokazala do koje mjere identitet i spaja i
razdvaja.
Svako predstavljanje identiteta moe imati i perpetuirajui i destabilizirajui efekat. Bez posezanja za
psihologiziranjem, oito je iz raznih primjera novije bosanskohercegovake arhitekture da je potraga za
zajednikom osnovom i zajednikim prostorom i njihovo ponovno otkrivanje, koliko god bila teka, esto
ovdje bitna; kroz predstavljanje drave na trgovinskim sajmovima i izlobama, na spomenicima, u odnosu
prema naslijeu, ak i u transformaciji postojeih graevina.
Ba kao to se identitet vezuje za slinost i razliku, dijeli i ujedinjuje, tako i arhitektura, koja proizvodi taj
identitet i koja je sama esto njime proizvedena, predstavlja vezu sa i odvajanje od onog to je bilo i onog

Identitet Identity
to e tek doi.

Identity is whatever makes something the same or different. This

definition, which has been copied more that 1500 times on the world
wide web, underscores the paradoxical nature of every situation in
which identity is controversial or problematical.
Otherness and sameness are two sides of the one coin. The simultaneity of similarity and difference opens
up a rich panorama for observations on developments in Bosnia and Herzegovina, a country that is divided
into different cultural entities, and united by all the cultural distinctions. Although an identity card
suggests otherwise, identity is never straightforward, unambiguous, comprehensive. Nothing and no-one
entirely coincides with a single identity.
Insofar as architecture is the product or expression of an identity, it is only ever partial, as is also evident
in Bosnia and Herzegovina where recent history has demonstrated in tragic fashion the extent to which
identity both unites and divides.
Identitet / Identity Every representation of identity can have both a perpetuating and a destabilizing effect. Without resorting
to psychologizing, it is apparent from various examples of recent architecture in Bosnia and Herzegovina
that the search for, the rediscovery of a shared basis and a shared space, however difficult, often plays a
role here: in national presentations at trade fairs and exhibitions, in monuments, in the treatment of
Simbolika prisutnost 56
Symbolic presence heritage and even in the transformation of existing buildings.
Mjesta sjeanja
Places of memory 60 Just as identity relates to similarity and difference, divides and unites, so the architecture that produces
that identity and is itself also produced by it, is a link with and separation from what was and what is to
Obnova
Reconstruction come.
70

52 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 53

 A
Identitet Identity

Simbolika prisutnost
Symbolic presence

1. FILTER (Vedad Islambegovi, Ibrica

Jaarevi, Kenan Vatrenjak, Asmir Muteveli,
Nedim Muteveli): Historijski park
srednjovjekovne Bosne i Hercegovine /
Mediaeval Bosnia and Herzegovina History
Park, Zenica, 2009/2010. 8
2. Adnan Drnda, Igor Gluac: Paviljon Bosne i
Hercegovine / Bosnia and Herzegovina Stand,
World Travel Market, London, 2007, Bosanski
toak, ili 360 putovanja u minijaturi kroz
BiH / The Bosnian wheel, or a 360 journey
in miniature through Bosnia and
Herzegovina 10
3. Jasmina Dizdarevi, Miron Ibrahimpai,
Lamila Simii: Paviljon Bosne i
Hercegovine / Bosnia and Herzegovina
Pavilion, Expo 2010, angaj 12
4. Zvjezdan Turki, Sreko Kreitmayer:
Meunarodni granini prijelaz Izai / Izai
International Border Crossing, 2004. 14

54 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 55

IDENTITET IDENTITY Projekt je rezultat ideje izlobenog paviljona organski
integriranog unutar velikog gradskog parka Kamberovia
Simbolika prisutnost park, koji se protee du rijeke Bosne, u centralnoj zoni
Symbolic presence grada Zenice. Naime, koncept su autori bazirali na
deterministikom promiljanju historije kao niza
uzrono-posljedinih dogaaja, i kroz izbjegavanje
upadanja u zamku patetinog i artificijelnog
predstavljanja (jednog segmenta) nacionalne historije.
Tako su osmislili izlobenu postavku koja nosi
prvenstveno edukativni karakter i kreirali arhitektonski
prostor koji ostvaruje emocionalnu komunikaciju s
korisnikom. Objekt je kreiran kao poluukopana tuba
spiralnog oblika, tako da ulaz i izlaz zavravaju na istoj
taki, ali na razliitim nivoima. Ulazna sekvenca
poniranje ispod zemlje, jednosmjerno kretanje izmeu
zidova obloenih ogledalima, te vraanje na poetak
izranjanje na svjetlo dana, ine snanu simbolizaciju. U
takvim uvjetima posjetilac doivljava prostor kao
relativan i otkriva vrijeme kao sadraj. Vanjska stijenka je
obloena reflektirajuim staklom, iza kojeg je postavljeno
vjetako osvjetljenje da bi se ostvario dnevni i noni
ambijent prostora danju je objekt samo refleksija
parkovskog zelenila, a nou kao svjetlea spirala ini
reper u nonoj slici grada. Du prilaznih staza postavljeni
su grubo klesani kameni blokovi (s funkcijom klupa), koji
ukazuju na karakter paviljona i njegovu pripadnost
ambijentu. Oni su zapravo asocijacija na
najreprezentativniji srednjovjekovni bosanski element
steak (nadgrobni spomenik).
Historijski park
srednjovjekovne
Bosne i
Hercegovine
Mediaeval Bosnia
and Herzegovina
History Park
Arhitekti/Architects: FILTER Vedad Islambegovi, Ibrica Jaarevi, Kenan Vatrenjak, Asmir Muteveli, Nedim Muteveli
Saradnici/Collaborators: Adi Muminovi, Adnan Hadihasanovi Lokacija/Location: Zenica Godina/Year: project/design 2009-2010
Tip/Type: natjeaj, prva nagrada/competition, rst prize Neformalni naziv projekta: prostorvrijeme
56 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The design was prompted by the idea of an exhibition
space forming an integral part of the large Kamberovi
Park alongside the River Bosna, in the centre of the town
of Zenica. The concept was based on a deterministic
approach to history as a series of causes and
consequences, while avoiding falling into the trap of a
pathos-ridden and artificial representation of part of our
national history. The architects came up with a design
that is principally educational in nature, and created an
architectural space that generates an emotional response
in the viewer.The structure was created as a spiral tube
part of which is below ground, so that the entrance and
exit are at the same point, but on different levels. The
entry sequence disappearing underground as a one-way
movement between walls lined with mirrors and
returning to the beginning, emerging into the daylight
creates a powerful symbolism. In such conditions, visitors
experience space as relative and discover time as
content.The outer wall is lined with reflective glass with
artificial lighting behind, to create a day and night
ambiance by day, the structure is simply a reflection of
the park greenery, while at night, it is an illuminated
spiral that creates a focal point in the night-time
townscape. Rough-cut stone blocks, serving as benches,
line the access paths, indicating the nature of the pavilion
and its belonging to the setting. These blocks are in fact
a reference to Bosnias most striking mediaeval
monuments, the tombstones known as steak.
IN BIH 1995-2010
IDENTITET IDENTITY Bosanski toak, ili 360 putovanja u minijaturi kroz BiH
Simbolika prisutnost Kombinirajui kretanje pokret, audio i vizualne efekte, i
Symbolic presence individualno uee posjetilaca kroz mogunost izbora,
autori su ostvarili originalan i atraktivan izlobeni prostor.
Koncept se moe najbolje iskazati reenicom Henryja
Millera: Neka destinacija nije samo mjesto, ve novi nain
pogleda na svijet. S obzirom na to da se 2007. godine
Bosna i Hercegovina prvi put predstavila na ovom
prestinom sajmu, autori su na poetku postavili niz
pitanja traei jedan savremen dizajnerski pristup s
primjesom tradicije i duhovitosti. Kako se predstaviti na
prostoru od samo 67,50 m2 i ostati zapaen kada druge
turistike velesile izlau na vie od 1.000 m2? Kako
izbjei dosadanji pogled na stvarnost Bosne i
Hercegovine kroz prizmu minulih ratnih deavanja?
Prethodno viena rjeenja na ovakvim skupovima
oslanjaju se na visoku tehnologiju, to autori nisu smatrali
primjerenim prezentaciji drave osiromaene minulim
ratnim zbivanjima. Inspirirani novim pogledom na svijet
i izvanrednim uspjesima domae kinematografije,
artikulirali su prostor paviljona idejom bosanskog toka.
Kao i na filmskoj traci, izvan i iz kruga smjenjuju se
fotografije s motivima kulturnih, historijskih i prirodnih
vrijednosti Bosne i Hercegovine. Ulazei u krug, birajui
sekvence i tempo kretanja, posjetioci zapoinju etnju od
360 po Bosni i Hercegovini. A uz sve to, kao DJ-evi
kombiniraju zvukove autohtone bh. muzike.
Paviljon Bosne i
Hercegovine
Bosnia and
Herzegovina
Pavillion World
Travel Market,
London, 2007.
Arhitekti/Architects: ARHILAB Adnan Drnda, Igor Gluac Saradnici/Collaborators: Maja Drnda, Majda Taletovi, Amela Sipi
Lokacija/Location: WTM London Godina/Year: 2007-2008. Tip/Type: natjeaj, prva nagrada/competition, rst prize
Investicija/Investment: javna/public Klijent/Client: USAID i Turistika zajednica BiH/USAID and Tourist Association of Bosnia and
Herzegovina BGP objekta/GBA: 67.5 m2 Fotograf/Photographer: ARHILAB
58 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The Bosnian wheel, or a 360 journey in miniature through
Bosnia and Herzegovina
By combining movement and motion, audio and visual
effects and individual visitor participation, inviting visitors to
make their own choices, the architects have achieved an
original and attractive exhibition space.The concept can best
be expressed in Henry Millers words, Ones destination is
never a place but rather a new way of looking at things.
Since Bosnia and Herzegovina was represented for the first
time in 2007 at this prestige event, the architects began by
raising a number of issues in their quest for a modern
designer approach with a touch of both tradition and
humour: how to be presented and how to be noticed in an
area of only 67.50 square metres, where other tourism super-
powers have stands of more than 1,000 square metres; and
how to avoid seeing the reality of BiH through the lens of the
recent war? The designs previously seen at conferences of
this type rely largely on high technology which, in the
architects view, is not an appropriate way to present a
country impoverished by war. With the motto a new world
view as their inspiration, and encouraged by their countrys
considerable success in the world of film, the architects
chose to design their pavilion around the idea of a central
Bosnian wheel.Just as on a film tape, photographs of some
of the features of Bosnia and Herzegovina its culture, its
cities, its landscapes succeed one another around the
wheel. Visitors entering the wheel choose their own
sequence and tempo, spinning the wheel to create a 360o
journey around Bosnia and Herzegovina and, like DJs,
accompany their experience with some of the countrys
indigenous music.
IN BIH 1995-2010 59
IDENTITET IDENTITY Putem koncepcije i materijalizacije Paviljona Bosne i
Hercegovine, koji je trebalo osmisliti unutar zadane
Simbolika prisutnost forme, teilo se jedinstvu unutranjeg dinaminog
Symbolic presence prostora i vanjskog plata objekta. Iznajmljeni kontejner
ve sam po sebi ini zatvorenu cjelinu, koju treba odjenuti
i iju utrinu treba ispuniti s temom Cijela zemlja jedan
grad.
Unutranju dispoziciju ini pet scena, koje simboliziraju
pet elemenata, manifestiranih kroz pet razliitih
medijskih scenarija: prostor grada, prostor prirode, kino,
interakcija kultura i inovacije u gradu. Svi scenariji, kao
take prezentacije razliitih sfera Bosne i Hercegovine,
povezani su meusobno u jednu cjelinu koja obuhvaa
jezgru, odnosno centralno mjesto agoru, i etiri elije.
Kompleksnost enterijera, nastalog pomicanjem i
multiplikacijom pet osnovnih taaka u prostoru, stvara
mnotvo rastuih mogunosti prezentacije izlobe i na taj
nain inicira posjetioca da se pomjeri iz statusa quo. Ideja
je inspirirana srednjovjekovnim utvrenim gradovima
kao matrica jedne zatvorene forme koja objedinjava
razliite svakodnevne sadraje. Razigrana utrina paviljona
isplovljava u vanjski svijet transformirajui se u fasadne
trake s printom djeijih crtea narativnim motivima
djeijih igara. Trake na fasadi su postavljene u dva sloja, a
unutranji sloj je na kotaima kako bi svojom mobilnou
omoguio izmjenu fasade u datim intervalima. Prilikom
izgradnje Paviljona Bosne i Hercegovine Expo 2010,
angaj, realizirana je fasadna opna, dok je rjeenje
enterijera ostalo na nivou ideje.
Paviljon Bosne i
Hercegovine
Bosnia and
Herzegovina
Pavilion Expo
Shanghai 2010.
Arhitekti/Architects: Miron Ibrahimpai, Lamila Simii, Jasmina Dizdarevi Lokacija/Location: angaj/Shanghai Godina/Year: 2010.
Tip/Type: natjeaj, prva nagrada/competition, first price for exterior design Investicija/Investment: javna/public Klijent/Client: Vijee
ministara Bosne i Hercegovine/Council of Ministers of Bosnia and Herzegovina BGP objekta/GBA: 1.000 m2 Fotograf/Photographer:
Miron Ibrahimpai
60 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The concept and materialization of the pavilion, which had
to fit within a given form, was designed to create a unity
between the interior dynamic space and the exterior
cladding. The rented container itself constitutes a closed
unit requiring cladding, the interior of which was to be filled
with the theme of the Whole Country One City.
The interior layout consists of five scenes, symbolizing five
elements manifested through five different media scenarios:
a city scene, nature, a cinema theatre, the interaction
between cultures, and innovations in the city. All five, as
presentations of various aspects of Bosnia and Herzegovina,
are linked into a whole consisting of a central agora and four
cells. The complexity of the interior, created by the movement
and replication of five basic points in space, creates a
plethora of possible ways of presenting the display that
encourages visitors to step out of the status quo and float
through the space without neglecting the outer cladding.
The design was inspired by the mediaeval walled town or
fort, an enclosed space bringing together various features of
daily life.The external structure is defined by the complexity
of its internal form. The interior design flows outwards,
transforming itself into bands composed of childrens
drawings of their games, with the intention of creating a
unity between the interior and the exterior.These bands were
mounted on two levels, with the inner level mounted on
wheels, allowing the faade to change at given
intervals.When the Bosnia and Herzegovina Pavilion at Expo
Shanghai 2010 was constructed the faade cladding was
executed, but the interior was still only an idea.
IN BIH 1995-2010 61
IDENTITET IDENTITY Granini prijelaz Izai simboliki je shvaen kao
najzapadnija kapija Bosne i Hercegovine taka
Simbolika prisutnost najblieg dodira s centralnom Evropom. Zato su autori s
Symbolic presence jedne strane traili optimalna tehnoloka i saobraajna
rjeenja, a s druge strane postavili zahtjev za vizualnim
naglaskom kao jednim od principa animacije.
Taj vizualni naglasak predstavlja centralna nadstrenica,
koja se pojavljuje kao dominanta pri ulasku u dravu i
izlasku iz nje. Nadstrenica svojom formom simbolizira
kapiju, a vertikalni srednji nosa sa zategama naglaava
ulaznu i izlaznu stranu prelaska granice.
Arhitektura ostalih objekata u sklopu graninog
kompleksa je decentna jer treba da podri jedan red da se
niim ne dekoncentrira nadzor nad kontroliranom zonom
kakvo je podruje graninog prijelaza. Pored centralne
nadstrenice, koja slui za kontrolu ulaska i izlaska
osobnih automobila i autobusa te izlaska kamiona, u
graninom pojasu nalazi se i nadstrenica za kontrolu
ulaska kamiona u dravu. Izmeu centralne i kamionske
nadstrenice nalazi se objekt centralne granine kontrole
policije i carine. Svi ostali sadraji i objekti disponirani
su tako da omoguavaju logian, pregledan, brz i
nesmetan ulazak i izlazak iz drave, uz maksimalno
efikasno obavljanje svih neophodnih graninih
formalnosti.
Meunarodni
granini prijelaz
Izai
Izai
International
Border Crossing
Arhitekti/Architects: AKSA Zvjezdan Turki, Sreko Kreitmayer Saradnici/Collaborators: Semir Spahi, Sanda Osvald, Barbara Kreitmayer,
Gaper Denar, Rebeka Buinel Lokacija/Location: Izai Biha Godina/Year: 1998-2004. Tip/Type: natjeaj/competition
Investicija/Investment: javna/public Klijent/Client: Federalno ministarstvo finansija, Carinska uprava, Svjetska banka / Federal Ministry
of Finances, Customs Office, World Bank Povrina lokacije/Site area: 142.806 m2 BGP objekta/GBA: 6.100 m2
Fotograf/Photographer: AKSA
62 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Izai International Border Crossing between Bosnia and
Herzegovina and the Republic of The architects see the Izai
border crossing as the symbolic westernmost gateway to
Bosnia and Herzegovina and its closest point of contact with
central Europe. They therefore sought optimal technological
and traffic solutions on the one hand, while aiming to
achieve a visual impression of animation on the other. The
layout of the complex, which is about 1,000 metres long and
200 metres wide, reflects the technical and traffic-related
needs of the crossing. The central canopy with its cross axis
is 400 metres from the border itself. Within the site, a
balance has been achieved between the border crossings
and the internal spaces. The visual accent consists of the
central canopy, which dominates the crossing. Its form
symbolizes the gateway, while the central supporting upright
with its tie rods emphasizes the entrance and exit of the
border crossing. The architectural design of the remaining
facilities is restrained, reflecting its supportive role and
ensuring that it does not detract from the view of the
controlled zone of the crossing.In addition to the central
canopy, which is the check point for the entry and exit of
passenger vehicles and buses as well as lorries, there is an
additional canopy serving as a check point for lorries
entering the country. The central border control building,
housing the border police and customs, is located between
the main canopy and the canopy reserved for lorries. All
other facilities and buildings are arranged to allow for the
logical, controlled, rapid and smooth entry and exit of
vehicles providing maximum efficiency for all the necessary
border formalities.
IN BIH 1995-2010 63
 A
Identitet Identity

Mjesta sjeanja
Places of memory

5. Mladen Jadri: Sarajevo Cross, Graz, 1994.

6. Nedim Muteveli, Ervin Praljivi, Asmir

abi: Trg sevdaha, Sarajevo, 2006. 18
7. Lemja Chabbouh-Akamija, Azra Demir,
Dario Krlje, Emir Ramovi: Spomen-soba,
Memorijalni centar kompleks Tvornice
akumulatora u Potoarima / Memorial
Room, Memorial Centre, Battery Factory in
Potoari, Srebrenica, 2007. 20
8. Arch. (Christoph Hinterreiter, Gerd Wochein,
Armin epi, Isra Tatli: Spomen-soba,
Memorijalni centar kompleks Tvornice
akumulatora u Potoarima / Memorial
Room, Memorial Centre, Battery Factory in
Potoari, Srebrenica, 2007. 22
9. Mensud Keo: Spomen-obiljeje ubijenoj
djeci opkoljenog Sarajeva / Monument to
the children killed during the siege of
Sarajevo, 2009. 24
10. Maja Mili-Aleksi, Marina Radulj, Vladimir
Stanarevi, Dario Plea: Memorijalni
kompleks / Memorial Complex, Banja Luka,
2007. 26
11. Sanja Gali-Grozdani, Igor Grozdani:
Spomenik rtvama opsade Sarajeva 1992-
1995 / Monument to the victims of the
1992-1995 siege of Sarajevo, 2000. 28
12. Maja Ili, Dragana Stoki: Spomen-obiljeje
svim civilnim rtvama rata u Brko Distriktu
Bosne i Hercegovine / Memorial to all the
civilian victims of the war in Brko, 2009. 30
13. Urbanistiki zavod Republike Srpske (Sonja
Radaji, Milana Rokvi, Igor Kova): Idejno
urbanistiko rjeenje spomen-podruja
Donja Gradina / Outline urban planning
design for the Donja Gradina memorial site,
2009. 32
14. Relja Ferui, Carles Sala: Emotivne
topograje, Memorijalni centar Potoari /
Emotional topography. Memorial Museum,
Potoari, Srebrenica, 2009. 34

64 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 65

IDENTITET IDENTITY Svaki segment budunosti reprezentira ujedno i novo
krianje mjesto na kojem se mora uvijek iznova izabrati
Mjesta sjeanja pravi put. Znak budunosti, poznatiji pod imenom Kri za
Places of memory Sarajevo, zakoeni je krst, vieslojni simbol namjerno
izbaen iz vrstog ortogonaliteta i stabilnog odnosa koji
predstavlja.
Pobjednik meunarodnog natjeaja, ovaj objekt je, uz
pomo Haus der Architektur iz Graza, izgraen i
postavljen u nekoliko austrijskih gradova da skrene
panju na tragediju bosanskog rata. Na njegovim
unutranjim zidovima otisnut je apel sarajevskih
arhitekata protiv ratnog razaranja u Sarajevu i Bosni i
Hercegovini. Objekt je bio postavljen u Grazu, Beu,
Klagenfurtu i Salzburgu 1994. i 1995. godine. Znak
budunosti je arhitektonski protest ne samo protiv rata
nego i protiv rastue opasnosti od nacionalizma,
primitivizma, rasizma, kao i ope drutvene nemoi da se
nosi s tim problemima. Sarajevski kri danas slui kao
ulaz u Fakultet za modernu historiju u Grazu.
The future is made up of many crossroads, where one is
constantly faced with the need to choose the right path. The
Sign of the Future, better known as the Sarajevo Cross, is a
multi-layered symbol deliberately tilted off true
orthogonality and stability.
As the winning design in an international competition for
the sign of the future organized by the Haus der Architektur
in Graz in 1994, the cross, its inside walls inscribed with the
architects protest against the 1992-1995 war in Bosnia-
Herzegovina, and the destruction of Sarajevo in particular,
was hosted by a number of cities as part of an campaign to
raise awareness of the tragedy of war in Bosnia-Herzegovina.
The design was exhibited in Graz, Vienna, Klagenfurt, and
Salzburg in 1994 through 1995. The sign of the future was
an architectural protest not only against war, but also
against the rising dangers of nationalism, primitivism,
racism, and political incompetence, as well as societys
general inability to deal with these problems. The Sarajevo
Cross has found a permanent home in the grounds of the
Faculty of Modern History in Graz, where it forms the
entrance to the faculty.

Sarajevo Cross
The sign of the
Future

Arhitekt/Architect: Mladen Jadri Saradnik/Collaborator: Daria Jadri Lokacija/Location: Graz, Be/Vienna, Klagenfurt, Salzburg
Godina/Year: 1994-1995. Tip/Type: meunarodni natjeaj/international competition Klijent/Client: Haus der Architektur, Graz BGP
objekta/GBA: 40 m2 Fotograf/Photographer: Angelo Kanauat, ORF: Peter Kurz, Hans Leitner, Peter Matha

66 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 67

IDENTITET IDENTITY Unutar ve formirane urbane strukture, koju karakterizira
sudar dvaju razliitih vremenskih i stilskih perioda, kao
Mjesta sjeanja pobjedniki konkursni rad Trg sevdaha predstavlja
Places of memory kontrastno rjeenje adekvatno savremenom izrazu
arhitektonske misli. Postojeu parcelu, nastalu ruenjem
starog objekta, bilo je potrebno kreirati kao ureeni javni
prostor za izvoenje umjetnikih manifestacija na
otvorenom.
Osnovni karakter sevdaha (ljubav, milovanje, strast, zanos,
uzdisanje) ne bi mogao postojati bez karasevdaha (tuga,
potitenost, snudenost). Taj oigledni dualizam,
oitovan u stihovima, melodiji i ritmu tradicionalne
gradske pjesme, autori su odluili prevesti u liniju,
povrinu i volumen. Osnovni prostorni koncept formiran
je od elemenata punog-praznog, svijetlog-tamnog,
statinog-dinaminog Uputeni kubus, koji je ostakljen
i ispunjen vodom (dnevni efekt) i svjetlom (noni efekt)
asocijacija je zanosa i sree. Izdignuti kubus (za sjedenje),
neosvijetljen i masivan, asocijacija je enje i tuge.
Postojei zabatni zid na bonoj strani parcele je jedina
vertikalna ravan trga i autori ga tretiraju kao centralno
mjesto pogleda. Akcent na zidu predstavlja nii otvor,
naglaen asimetrinim okvirom u glatki/isti kubistiki
volumen. Prostor desno od otvora ostaje slobodan za
razliite vrste projekcija, a gusti raspored kubusa uza zid
omoguava postavljanje pozornice. Prostor na uglu prema
ulici Zelenih beretki naglaava se vertikalnim kubusima u
nepravilnom ritmu po visini. Tako se naglaava granica
trga spram ulice i stvara primjetna taka u prilaznoj
sekvenci iz ulice Zelenih beretki, s Latinske uprije, dok se
granice trga gube prema usitnjenijoj strukturi okolnih
mirnijih ulica. Ideja trga je uspjean primjer interpolacije
unutar historijske jezgre minimalistikim, nenametljivim i
suvremenim pristupom.
Trg sevdaha
Sevdah Square
Arhitekti/Architects: Nedim Muteveli, Ervin Praljivi, Asmir abi Lokacija/Location: Sarajevo Godina/Year: 2007. Tip/Type: natjeaj,
prva nagrada/competition, first prize Investicija/Investment: javna/public Klijent/Client: Opina Stari Grad Sarajevo/Municipality Stari
Grad Sarajevo Povrina lokacije/Site area: 200 m2
68 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The winning design for Sevdah Square is an exercise in
contrasts between an existing urban structure characterized
by the clash of two different periods and styles and
contemporary architectural thought. The plot, formed by the
demolition of an old building, was created especially to
provide a custom-made venue for open-air artistic events.
The fundamental nature of the sevdah (love, caresses,
passion, ecstasy, sighs) could not exist without its dark side,
karasevdah (sorrow, melancholy, dejection). The architects
decided to transform this dualism, expressed in the verses,
melodies and rhythms of the traditional urban love song,
into line, surface and volume. The basic spatial concept is
formed from contrasting elements: solid and void, light and
dark, static and dynamic. The inset cube, glazed and filled
with water (by day) and light (by night) evokes ecstasy and
happiness, while the raised cube for seating is unlit and
massive, evoking yearning and sorrow. The existing gable
wall to the side of the plot is the only vertical surface in the
square, and has been treated as its focal point. The low-set
opening, accentuated by an asymmetrical frame in a pure,
smooth, cubist volume, forms an accent point on the wall.
The empty space to the right of the opening is left blank for
various kinds of projections, while the densely clustered
cubes by the wall allow for a stage to be put up. The area at
the corner facing Zelenih beretki Street is accentuated by an
irregular arrangement of vertical cubes, thus highlighting the
edges of the square by the street and creating an eye-
catching feature from Zelenih beretki Street as one
approaches it from the Latin Bridge, while the outer edges of
the square merge into the small-scale structure of the quiet
surrounding streets. The idea of the Square is a minimalistic,
unobtrusive and contemporary approach forming a successful
example of an infill in the historic centre of the city.
IN BIH 1995-2010 69
IDENTITET IDENTITY Spomen-soba se nalazi unutar Tvornice akumulatora u
Potoarima, gdje se 1995. godine dogodila tragedija
Mjesta sjeanja Srebrenice.
Places of memory
Naputeni i mrani prostor tvornice sam po sebi pria
priu o svim traginim deavanjima, a koncept idejnog
rjeenja u potpunosti prati govor prostora. Uvertira
cjelokupnog prostornog programa je susret sa 108
metara dugim hladnim i tamnim hodnikom, gdje se
posjetilac upoznaje sa dvadeset razliitih ivotnih pria
rtava koje su traile spas u holandskoj bazi. Kraj koridora
simbolizira sjecite bolno razdvajanje ena od
mukaraca. Ulaskom u Spomen-sobu, koja je za vrijeme
traginih dogaaja primila vie od 5.000 ljudi, doivljava
se kontrast prostora: iz dugih uskih hodnika ulazi se u
visokostropnu salu, gdje posjetioci doivljavaju prividno
olakanje. U centralnom dijelu nalazi se lebdei kubus
auditorijalne sale s pristupnom rampom. U cilju odavanja
poasti ljudima koji su boravili u prostoriji, planirano je
da se sve to je na tlu podigne ili ukloni, dok deformacija
plata auditorijalne prostorije simbolizira guvu ljudi
izvan i unutar Spomen-sobe. Nakon prolaska kroz koridor
i posjete Spomen-sobi i auditorijalnoj sali, koji su u
polutami, izlazi se na dnevno svjetlo, gdje se otvara vizura
na mezaristan i musalu. Na ovaj nain zatvara se ciklus
ivota, katarze i smrti, koji je neprirodno okonan u
srebrenikoj tragediji.
Spomen-soba,
Memorijalni
centar Potoari
Memorial Room,
Potoari
Memorial Centre
Arhitekti/Architects: Lemja Chabbouh-Akamija, Azra Demir, Dario Krlje, Emir Ramovi Lokacija/Location: Kompleks Tvornice
akumulatora u Potoarima Srebrenica, The Battery Factory Complex in Potocari Srebrenica Godina/Year: 2007. Tip/Type:
natjeaj/competition Investicija/Investment: javna/public Klijent/Client: Klijent/Clinet: Fondacija Srebrenica Potoari, Spomen
obiljeje i mezarje / Foundation of Srebrenica Potocari, Memorial and Cemetery BGP objekta/GBA: 230 m2 Fotograf/Photographer:
Jasmin Agovi, Trevor Haskell
70 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The Memorial Room is located inside the Battery Factory in
Potoari, site of the 1995 tragedy of Srebrenica.
The empty, dark space in itself tells the story of all these
tragic events. For this reason, the design concept fully follows
the story of the space itself. Visitors to the Memorial are first
faced with a cold, dark corridor, 108 m long, which
represents the prelude to the whole programme. In it they
are introduced to the different life stories of twenty of the
victims who sought refuge in the Dutch battalion base. The
end of the Corridor symbolizes a cut-off point the
agonizing separation of the women from the men. Entering
the memorial room, which during the tragic events received
more than 5,000 people over two days, visitors experience a
spatial contrast: emerging from the long, narrow hallway
they enter a high-ceilinged room where they get a sense of
apparent relief. The floating Auditorium Cube, with its access
ramp, is in the centre of this room. To honour the people who
were once held here, the intention was to have everything
either removed or raised above floor level. The distorted
faade of the Auditorium symbolizes a crowd of people
outside and within the Memorial Room. After passing
through the Corridor and visiting the Memorial Room and
Auditorium Hall, which are in semi-darkness, visitors emerge
into the light of day and move on to the exit, where there is
a view of the Cemetery and the Musala. The cycle of life,
catharsis and death is thus completed, symbolizing the
unnatural end of the people of Srebrenica in this
unprecedented tragedy.
IN BIH 1995-2010 71
IDENTITET IDENTITY Fabrika akumulatora nijemi je svjedok dramatinih
dogaaja 11. jula 1995. godine. U spomen tih dogaaja, i
Mjesta sjeanja sama fabrika hala postala je dijelom memorijalnog
Places of memory kompleksa.
Suptilno zamiljene vizuelne veze omoguavaju sintezu
fabrike akumulatora, kula i narativnih elemenata, tako da
ovaj spomen-prostor djeluje manje kao "prostorija", a vie
kao viedimenzionalni doivljaj informativnih i emotivnih
elemenata spomen-prostora. Razliiti nivoi, poput
individualnih i kolektivnih tragedija i percepcija,
predstavljaju programske elemente.Narativni sadraji
Spomen-sobe u Srebrenici smjeteni su u dvije visoke
crne kule. U jednoj se nalazi prostor za sjedenje sa
stalnom filmskom projekcijom, a u drugoj izlobene
vitrine sa osobnim priama. Na nivou za posjetioce dvije
kule se otvaraju jedna prema drugoj i tvore sredinji
prostor kojim posjetioci prelaze iz jednog prostora u
drugi. Kula u kojoj se odvija projekcija filma omoguuje
kolektivni doivljaj i predstavlja mjesto za razgovor. Otvor
prema sredinjem podruju ostakljen je okretnim
panelima da se omogui odravanje razliitih programa u
spomen-prostoru. Kula sa postavkom pojedinanih pria
otvorena je sa strane i na vrhu. Nema toplinske izolacije i
izlae posjetioca klimatskim uvjetima fabrike hale.
Format izlobenih vitrina sa osobnim priama dozvoljava
jedino percepciju licem u lice.
The Battery Factory is the silent witness of the dramatic
happenings on 11 July 1995. To pay tribute to the events
which unfolded there, the hall itself has become part of the
memorial. Subtly conceived visual links allow the Battery
Factory, towers and narrative elements to synthesise,
resulting in a memorial that is less a room than a multi-
dimensional experience of the informative and emotional
aspects of the place. Different scales such as individual and
collective tragedies and perceptions are the programmatic
elements.
Two tall black towers contain the narrative elements of the
Srebrenica Memorial Room, one providing seating and a
continuously-running film, the other showcases containing
personal stories.
At the visitors' level, the two towers open towards each other,
creating a central space, which visitors criss-cross as they
visit each space. The film projection tower enables collective
experiences and provides place for discussion. The opening
towards the central area is glazed with pivotable elements to
allow multifunctional programming of the memorial. The
individual stories tower is open to the side and the top. It is
not thermally protected and exposes the visitor to the
climatic conditions of the hall. The display scale of the
individual stories only allows face to face perception.

Spomen-soba,
Memorijalni
centar Potoari
Memorial Room,
Potoari
Memorial Centre

Arhitekti/Architects: Christoph Hinterreiter, Gerd Wochein, Armin epi, Isra Tatli Lokacija/Location: Kompleks Tvornice akumulatora u
Potoarima Srebrenica /The Battery Factory Complex in Potocari - Srebrenica Godina Godina/Year: 2007. Tip/Type:
natjeaj/competition Investicija/Investment: javna/public Klijent/Client: Fondacija Srebrenica Potoari, Spomen-obiljeje i mezarje /
Foundation of Srebrenica Potocari, Memorial and Cemetery BGP objekta/GBA: 230 m2 Fotograf/Photographer: Jasmin Agovi, Trevor
Haskell

72 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 73

IDENTITET IDENTITY Spomen-obiljeje napravljeno da ouva uspomenu na
nevinu djecu ubijenu za vrijeme opsade Sarajeva polazi
Mjesta sjeanja od simbolike posebnosti djeijeg svijeta, temporalnosti i
Places of memory emocija.
Locirano je unutar kompleksa ozelenjene parkovske
povrine u centralnoj zoni grada. Sastoji se od pet
elemenata: staklene skulpture, bronzanog prstena s
otiscima djeijih stopala, vode, plonika s klupama i
osvijetljenog etalita s drvoredom od kafane Park do
ulice Koevo.Staklena skulptura predstavlja kristalnu
(zaleenu) kulu, poput kule od pijeska, sainjenu od dviju
odvojenih formi kao majka i dijete. Bronzani prsten s
otiscima djeijih stopala ini jedini materijalni dokaz
postojanja. Plima i oseka vode preko bronzanog prstena
upuuje na istotu, nevinost, kao i na prolaznost vremena.
S lijeve strane spomenika nalazi se sedam cilindara od
nehrajueg elika s djeijim imenima. Ove cilindre je
mogue zavrtjeti rukom (da se pronae odreeno ime) i
dok se okreu proizvode njeni zvuk (metalni tapii
unutar valjka), koji dodatno utjee na osjetilni doivljaj
spomenika.
Spomen-obiljeje
ubijenoj djeci
opkoljenog
Sarajeva
Monument to the
children killed
during the siege
of Sarajevo
Skulptor/Sculptor: Mensud Keo Saradnici/Collaborators: Irma Vatri, Nedim Hadiabdi Lokacija/Location: Sarajevo Godina/Year:
2007-2009. Tip/Type: natjeaj, prva nagrada/competition, first prize Investicija/Investment: javna/public Klijent/Client: Gradska
uprava Sarajevo/Sarajevo City Authority Povrina lokacije/Site area: 800 m2 Fotograf/Photographer: Dragan Antoni, Denis Logo
74 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The Monument was erected to preserve the memory of the
innocent children killed during the siege of Sarajevo, and
draws on symbols particular to the world of the child,
temporality and emotion.
Standing in the main park in the city centre, it has five
components: a glass sculpture, a bronze ring with childrens
footprints, water, a paved area with benches, and an
illuminated promenade from the Park Caf to Koevo Street
The glass sculpture represents a crystal or frozen castle, or a
sand castle, composed of two separate forms symbolizing a
mother and her child. The bronze ring with childrens
footprints stands for the only physical evidence of existence.
The ebb and flow of the water over the bronze ring suggests
purity and innocence, as well as the fleeting nature of time.
To the left of the monument are seven stainless steel
cylinders inscribed with the childrens names. These can be
spun by hand to enable visitors to find a particular name. As
they spin, they produce a gentle sound from the metal
drumsticks inside the cylinder, adding to the sensory
experience of the monument.
IN BIH 1995-2010 75
IDENTITET IDENTITY Spomen-kompleks u Banjoj Luci posveen je poginulim
borcima Republike Srpske tokom rata u Bosni i
Mjesta sjeanja Hercegovini. Kompoziciju spomenika grade vertikalni
Places of memory elementi, koji simboliu duhovni, memorijalni, mentalni
svijet. Svijea u formi segmentiranih stubova je
simbolina spona svijeta mrtvih i svijeta ivih. Stubovi se
postavljaju u pet kontinualnih vrstih ali i transparentnih
nizova.
Predloeno rjeenje gradi prostor dvojne urbane funkcije
novi prostor memorije i novu urbanu scenografiju,
artikuliui prostor kao otvoren i javni dostupan svima.
U spomen-kompleksu se izdvajaju etiri specifine
cjeline: prostor spomenika, koji predstavlja prostor
emotivnog naboja, prostor memorijalne sobe, koji se
postepeno doivljava silaskom niz dugu rampu koja uvodi
u taman, miran i dostojanstven prostor, prostor glavne
komunikacije, koji podrava dijagonalu kretanja iz
mentalne mape grada, i prostor parka, kao segment
nesputane prirode u urbanom okruenju.
Jednostavne i pokrenute vertikalne ravni cjelokupnom
formom artikuliu novu panoramu grada.
The memorial complex in Banja Luka is dedicated to the
fallen soldiers of Republika Srpska during the war in Bosnia
and Herzegovina.
The monument consists of vertical compoments symbolizing
the spiritual, memorial and mental worlds. The candle
composed of segmented columns forms a symbolic link
between the world of the dead and that of the living. The
columns are set in five continuous, solid yet transparent
rows.
The design creates an area with a dual urban function a
new area of memory and a new urban mise-en-scne, thereby
articulating the space as public and open to everyone.
The monument consists of four separate sections: the
memorial, an emotionally charged space, the memorial room,
a dark, quiet, solemn space designed to be experienced
gradually as one descends the ramp, the main
communication area, facilitating a diagonal passage from the
mind-map of the city, and the park, as an area of untamed
nature in an urban setting.
The simple shifting verticals of the entire form articulate a
new panorama of the city.

Memorijalni
kompleks, Banja
Luka
Memorial -0.61
+0.30
-0.20

Complex, Banja -4.30

Luka -6.50

+0.25

-2.50
-3.25

-6.50

Arhitekti/Architects: Maja Mili-Aleksi, Marina Radulj Saradnici/Collaborators: Vladimir Stanarevi, Dario Plea Lokacija/Location: Banja
Luka Godina/Year: 2007. Tip/Type: natjeaj, prva nagrada/competition, first prize Klijent/Client: Grad Banja Luka/City of Banja Luka
BGP objekta/GBA: 3 300 m2

76 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 77

IDENTITET IDENTITY Osnovna ideja zasnivala se na integraciji spomenika s
urbanim vrijednostima trga, simbolizirajui tako rtve
Mjesta sjeanja opsade Sarajeva koje su poloile svoje ivote u odbrani
Places of memory civilizacijskih vrijednosti viestoljetnog urbanog ivljenja
u Sarajevu.
Lokacija za natjeaj je trg u strogom centru grada. Osim
rjeenja spomenika, natjeajni program je obuhvatio i
rjeenje rekonstrukcije trga. Viestoljetna tradicija
Sarajeva je simbolizirana poploanjem trga u obliku
sarajevskog barkoda, koji je formiran od vie od 500 traka.
Svaka traka simbolizira jednu godinu iz historije grada.
Trake koje simboliziraju opsadu Sarajeva nainjene su od
nestabilnih materijala pijeska, ljunka i izlomljenog
stakla. Sa istone strane trga formiran je pojas zelenila s
lokalnim rastinjem, koje simbolizira sarajevske bae i
parkove, kao neraskidivi dio gradskog identiteta.
Spomeniku kompoziciju ine tri elementa: krug u
centralnoj zoni trga, sa zidom na kojem su ispisana imena
svih rtava opsade, koji svojim krunim oblikom
simbolizira univerzalne vrijednosti; fontana na junoj
strani trga, u formi deformiranog kruga koji simbolizira
liniju opsade Sarajeva, s vodom kao simbolom ivota u
opkoljenom gradu; i 46 stupova razbacanih po trgu koji
simboliziraju 46 mjeseci opsade. Slijedei nit osnovne
ideje, trg i spomenik ine jedinstvenu prostorno-
funkcionalnu cjelinu. Spomeniki elementi su duboko
integrirani u urbanu strukturu trga, formirajui jedinstven
scenarij s itavim nizom sekvenci koje sklapaju
kompleksni mozaik plemenitosti, vjenosti, divljenja i
potovanja.
Spomenik
rtvama opsade
Sarajeva
Monument to
the victims of the
siege of Sarajevo
Arhitekti/Architects: Studio non-stop, Sanja Gali-Grozdani, Igor Grozdani Saradnici/Collaborators: Edin Avdibegovi, Hasnija Kazi,
Sanel Avdagi, Adnan Zorani Lokacija/Location: Trg osloboenja - Alija Izetbegovi, Sarajevo Godina/Year: 2000. Tip/Type: natjeaj,
druga nagrada/competition, second prize Investicija/Investment: javna/public Klijent/Client: Grad Sarajevo/City of Sarajevo Povrina
lokacije/Site area: 12.000 m2 Fotograf/Photographer: Studio non-stop
78 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The main idea is based on the integration of the memorial
and the urban attractions of the city square to symbolize the
victims of the siege of Sarajevo, who gave their lives in
defence of the civilized values of urban life through the
centuries in Sarajevo.
The competition site is a square in the very centre of the city.
As well as the design for the memorial, the competition
programme includes a redesign of the city square. Sarajevos
centuries-long tradition is symbolized by paving the square
as a Sarajevo Barcode with over 500 bars, each symbolizing
a year in the citys history. The bars symbolizing the siege of
Sarajevo will be made of friable materials such as sand,
gravel and broken glass. The eastern side of the square is
defined by a strip of greenery with local plants and trees
symbolizing the gardens and parks of Sarajevo as part of its
identity.The Memorial composition has three main elements:
a circle in the central area of the square, with a memorial
wall inscribed with the names of the victims, its circular
shape symbolizing universal values; a fountain on the south
side in the form of a misshapen circle, representing the siege
line with water as the symbol of life in the besieged city; and
46 columns arranged at random in the square as a symbol of
the 46 months of siege. Following the thread of the central
idea, the square and the memorial form a spatial and
functional unity. The memorial elements are deeply
integrated into the urban structure of the square, creating a
unique scenario with a series of sequences that form a
complex mosaic of magnanimity, eternity, admiration and
respect.
IN BIH 1995-2010 79
IDENTITET IDENTITY Projekat se zasniva na relaciji pomirenja i sukoba, ne
samo ratnih nego i onih u kontekstu ljudske slabosti.
Mjesta sjeanja Poruka ovog rjeenja je saradnja i meusobno uvaavanje,
Places of memory koji umjesto razaranja i smrti mogu i treba da stvaraju
siguran svijet za one koji ostaju.
Svaki ovjek se moe na svoj nain poistovjetiti sa
spomenikom jer je on posveen onima kojima je ivot
uskraen, a ostaje kao svakodnevnica onima iji su ivoti
znaajno promijenjeni proteklim ratom. Zato on ne treba
da predstavlja oiljak u centru grada koji e u svima
buditi nelagodan osjeaj, ve urbani prostor koji e
koristiti svi i koji e odati poast poginulima, a ujedno
ukazivati na vrijednosti ovozemaljskog ivota. Prostorni
koncept je zasnovan na pjeakim komunikacijama koje
vode s glavne ulice i simbolino predstavljaju dvije
sukobljene strane, koje prati obiljeje uzburkanosti
(potencirano klupama), poput talasa koji se spremaju da
udare u obalu. One jure ka epicentru taki u kojoj bi
strasti trebalo da kulminiraju (vatra). Meutim, umjesto
eksplozije, deava se upravo suprotno ove dvije strane
sarauju i zajednikim snagama stvaraju prostor koji uva
uspomenu na one koji su stradali i na budunost koja bi
bila ugroena ukoliko razum ne nadvlada strast. Ovaj
prostor zavrava nadstrenicom, koja je simbol sklonita i
zatitnika za one na kojima e svijet ostati.
Spomen-obiljeje
svim civilnim
rtvama rata,
Brko
Memorial to all
the civilian
victims of the
war, Brko
Arhitekti/Architects: Maja Ili, Dragana Stoki Lokacija/Location: Brko District Godina/Year: 2010. Tip/Type: natjeaj, druga
nagrada/competition, second prize Investicija/Investment: javna/public Klijent/Client: Vlada Brko Distrikta/Government of Brcko
District Povrina lokacije/Site area: 960 m2
80 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
This design is inspired by conflict resolution, as it relates not
only to war, but also to the conflicts created by human
weakness. The message of this work is that through
cooperation and mutual respect, instead of destruction and
death, it is possible to create a safe world for those who have
survived.
Every human being can identify with this monument, because
it is dedicated to those whose life has been cut short, and
stands here as a constant reminder of those whose life has
radically changed since the recent war. The monument
should not therefore be seen as a scar on the face of the
town, making everyone uncomfortable, but as an urban space
used by everyone and that honours the dead while also
emphasizing the value of life. The spatial concept is based
on two pedestrian paths leading from the main street,
symbolizing two opposing sides and designed to create an
air of restlessness (visualised as benches) like waves about to
crash onto the shore. They surge toward the epicentre the
point where passions should culminate (represented by an
eternal flame). But instead of creating an explosion, the two
conflicting sides work together to create a space that
preserves the memory of those who died and those who
would die if common sense and tolerance fail to triumph
over anger. This space ends with a small canopy symbolizing
a shelter, a refuge for those who are going to inherit this
world.
1m
IN BIH 1995-2010 81
IDENTITET IDENTITY Autori su, prepliui metafiziko i fiziko u pogledu
sjeanja, u svom konkursnom radu pokuali da odgovore
Mjesta sjeanja na koji nain pomiriti muk koji izaziva zapanjenost
Places of memory strahotom zloina, tiinu kojom se odaje potovanje
prema rtvi sa potrebom da se da oduka svojoj boli, da
se osjeaji prenesu i van granica Gradine kako bi
svjedoili i opominjali na strahotu koja nikada ne bi
smjela da se ponovi.
Konceptom prostora kao mjesta interakcije ne ele
ponuditi konaan odgovor na zadatu temu, nego nude
princip mozaika koji bi se razvijao organski i u kome bi
svaka zajednica, institucija i pojedinac dobili priliku i
prostor za otjelovljenje svoga sjeanja kroz pojedinane
spomenike, objekte, dogaaje (manifestacije). Analizom
istorijskih, prostornih, sadrajnih i simbolikih elemenata
lokaliteta komponiraju ukupnu strukturu u jedan jak
potez, u jedan zid, s formiranjem meuprostora i
poprenih veza. Ovaj oblik zida, pretoen u klin,
predstavlja koncentraciju mase i energije, saimanje i
uspinjanje, izdizanje iznad tla i istovremeno povezivanje s
njim. Na tom potezu formiraju se mikroprostori tematski
trgovi, mjesta predaha, sreivanja utisaka, djelujui tako
na stepenovanje emocionalnog doivljaja korisnika
prostora, ostvarujui vrhunac na obali Save, visoko iznad
vode. Programiranje sadraja, funkcija i kretanja du osi
sjever-jug predstavlja snano semantiko znaenje u
odnosu na dva pola svijeta. Jasna je podjela izmeu
istonog i zapadnog dijela kompleksa, pri emu istoni
dio ostaje potpuno ist, netaknut, miran, svet, spomeniki,
dok zapadni sublimira sve ostalo potrebno za
funkcionisanje kompleksa.
Urbanistiko
rjeenje spomen-
podruja Donja
Gradina
Urban planning
design for the
Donja Gradina
memorial site
Arhitekti/Architects: Urbanistiki zavod Republike Srpske/The Institute for urbanism of Republic Srpska Sonja Radaji, Milana Rokvi,
Igor Kova Lokacija/Location: Donja Gradina Godina/Year: 2009. Tip/Type:natjeaj/competition Investicija/Investment: javna/public
Klijent/Client: Ministarstvo prosvjete i kulture Republike Srpske/Ministry of Education and Culture of Republic Srpska Povrina
lokacije/Site area: 118 ha
82 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
This competition entry mingles the metaphysical and the
physical in an attempt to address the question of memory, of
how to reconcile the silence into which one is stunned by the
horror of the atrocities committed, and in which one remains
out of respect for the victims, with the need to vent ones
pain and express ones emotions beyond Gradina, to bear
witness to the horrors of war, for this must never happen
again.
The concept of the Memorial is to create a place of
interaction without aspiring to provide a definitive answer,
but rather to propose a principle, a mosaic able to evolve
organically in which every community, institution and
individual will have the opportunity and space to embody
their memories through the various monuments, objects and
events.The study of the history, the setting, the meanings and
symbols of this site prompted the decision to compose the
overall structure as a single powerful stroke, as a single wall
with the formation of spaces and cross-connections. A wall
of this kind, transformed into a wedge, represents a
concentration of mass and energy, narrowing and rising
above the ground while remaining in contact with it. This
creates micro-spaces thematic squares, breathing spaces,
places to review ones impressions thereby serving to
graduate the emotional experience of those who visit the
site, culminating on the bank of the River Sava high above
the water. Programming the content, functions and
movement along the north-south axis introduces a powerful
semantic charge in relation to the two poles of the world. It
forms a clear division between east and west, in which the
eastern part of the complex remains pure, intact, peaceful,
sacred, memorial, while the western part sublimates
everything else needed for the complex to function.
IN BIH 1995-2010 83
IDENTITET IDENTITY Stvaraju Vrt ivota tako to postojei teren modeliraju
kroz topografiju elemenata koji izranjaju ka boljoj
Mjesta sjeanja budunosti novih generacija. U dodiru s postojeom
Places of memory halom, kojoj skidaju krov, teren se izvija nestajui pod
zemljom i time se povezuje s prolou. Ovdje autori
stvaraju Vrt memorije od trenjevog i bademovog drvea,
s roskastim i bijelim cvatom.
U suterenu se smjeta muzej, garantirajui potpunu
kontrolu ambijentalnih faktora. Sredinji prolaz muzeja
ujedno je i prostor za projekcije audiovizualnih
mikrobiografija rtava, kao i centralna os oko koje se
uvezuju ili razdvajaju muzeoloke prostorne funkcije. Na
gornjoj koti pretvara se u zranu, slobodnu pasarelu, koja
premotava parkovne kronje, zatvarajui time tok
obilaska. Kubus poslovnih prostora ogre se svjetlosnim
omotaem, transformirajui se tako u vizualnu referencu u
okoliu.
Projektom je predvieno konzerviranje postojeih
pogonskih maina u njihovom zateenom stanju, tako da
postanu elementima memorije na nekadanji originalni
industrijski pejza.
Emotivne
topograje
Memorijalni
muzej Potoari
Emotional
topography
Memorial
Museum, Potoari
Arhitekti/Architects: Sala Ferui, Relja Ferui, Carles Sala Lokacija/Location: Tvornica akumulatora, Potoari / The Battery Factory
Complex in Potoari Srebrenica Godina/Year: 2009. Tip/Type: natjeaj/competition Investicija/Investment: javna/public
Klijent/Client: Fondacija Srebrenica Potoari Spomen obiljeje i mezarje / Foundation of Srebrenica Potoari Memorial and
Cemetery BGP objekta/GBA: 35.895 m2
84 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
It is the architects strong belief that the best way to
highlight the pointlessness of genocide is to propose a
design for a Memorial Museum in which the meaning of life
is emphasised When designing this memorial, they made
changes to all three facilities in the Battery Factory
industrial complex, integrating a new visual and
topographical identity into the existing landscape.
They are creating a Garden of Life by modelling the existing
site using a topography of elements that rise to the surface
into a better future for the generations to come. Making
contact with the existing factory, whose roof they have
removed, the site meanders, disappearing under ground and
thus connecting with the past. Here they create a Garden of
Memory, with pink and white-flowered cherry and almond
trees. The museum is located in the basement, which ensures
full control over the ambiental factors. The central passage
of the Museum is both a space for screening audio-visual
mini-biographies of the victims and the central axis that
connects or separates the spatial functions of the Museum.
At the upper level it turns into an airy, free passarelle
forming a bridge linking the trees in the park and thus
completing the tour. The cube of offices is clad in light, thus
transforming it into a visual point of reference in the
landscape.
The proposal is to conserve the machines in the factory as
they are, so that they become elements of the memory of
what was once the original industrial landscape.
IN BIH 1995-2010 85
 A
Identitet Identity

Obnova
Restoration and Reconstruction

15. Ivan traus: Obnova i rekonstrukcija

Poslovnog centra UNIS, Sarajevo, 1999.
24

16. Ferhad Mulabegovi: Rekonstrukcija,

restauracija i adaptacija Glavne pote, 8
Sarajevo, 1995-2000. 25

17. Husejn Dropi, Mehmed Dropi:

Rekonstrukcija objekta Gradske vijenice /
Reconstruction of the Town Hall, Brko,
2007-2010. 26

18. Adnan Pai: Sanacija, revitalizacija i 10

adaptacija fortikacije Mala kula Grdonj /
Repair, revitalization and adaptation of the
Mala Kula fortications, Sarajevo,
2008/2009. 27

19. Milijana Okilj: Obnova crkve Blagovjetenja

12
i Starog konaka manastira itomislii /
Reconstruction of the Church of the
Annunciation and the old Konak of
itomisli Monastery, 2003-2005.
14
28

20. Saa B. voro, Malina voro: Rekonstrukcija,

nadogradnja, dogradnja i opremanje zgrade
Ekonomskog fakulteta / Reconstruction,
extension and furnishing of the Faculty of
Economics Building, Banja Luka,
2008/2009. 29

21. Amir Vuk: VF Lukavac / VF Shopping Centre,

Lukavac, 2005. 30

22. Amir Vuk: Poslovni objekt Modna

konfekcija / Ready-to-wear fashion,
Sarajevo, 2008. 31

23. Adnan Drnda, Sulejman Midi: Prodajni

centar transformacija, dogradnja i redizajn
/ Shopping Centre - transformation,
extension and redesign, Bosanski Brod,
2007. 32

86 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 87

IDENTITET IDENTITY Obnova i rekonstrukcija Poslovnog centra UNIS nakon
razaranja tokom opsade grada 1992-1995. godine poela
Obnova je razmatranjem programskog zahtjeva koji je pored
Restoration and Reconstruction graevinske i funkcionalne obnove podrazumijevao i
mogunost dogradnje novih i potrebnih prostornih
sadraja.
Investitor je i ranije iskazivao elju za treim poslovnim
tornjem, a sada i interes za nove prostore za
veletrgovake i maloprodajne poslove te iru lepezu
ugostiteljskih usluga u jedinstvenom objektu. Autoru
UNIS-a ova mogunost je bila dio njegovog posla u
obnovi centra, ali i prilika da predloi oblikovni redizajn
poslovnih vertikala u duhu zbivanja na svjetskoj
arhitektonskoj sceni i iskoristi tehnoloki razvoj u
industriji stakla. Programska skica trebala je investitoru
predloiti neto vee novano ulaganje od gole obnove i
rekonstrukcije, odnosno arhitektonsko-urbanistiki
doprinos buenju oekivane nade graana u bolje sutra, a
posjetiocima grada predstaviti novu sliku grada koji se
raa iz ruevina. Prevladala je koncepcija investitora: to
bra i to jeftinija obnova, koja e osigurati najbri
mogui povrat ulaganja.
Obnova
Poslovnog centra
UNIS
Reconstruction of
the UNIS
Business Centre
Arhitekti/Architects: Ivan traus Saradnici/Collaborators: Lejla Kreevljakovi Lokacija/Location: Sarajevo Godina/Year: 1999.
Tip/Type: programska skica/program draft Klijent/Client: UNIS Sarajevo BGP objekta/GBA: 42.066 m2
88 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Restoration and reconstruction of the UNIS Business Centre
in Sarajevo
The restoration and reconstruction of the UNIS Business
Centre in Sarajevo following the damage suffered during the
1992-1995 siege of the city began with a consideration of
the programmatic terms of reference, which included not
only its structural and functional restoration but also the
potential for the addition of essential new facilities. The
investor had previously expressed the desire for a third
business tower, to which was now added interest in new
wholesale and retail premises and a wide range of catering
facilities under one roof.
For the designer of the UNIS towers this was not only party
of the task of restoring the Centre but also an opportunity to
propose a formal redesign of the business towers in line with
happenings on the global architectural stage and to take
advantage of technical advances in the glass industry. The
outline programme called upon the investor to make a rather
larger financial investment than would be required for mere
renovation and reconstruction in an architectural and
townscape contribution to awakening the townspeoples
hopes of a better future and presenting visitors with a new
image of a city rising from the ruins. The dominant principle
was that of the money-lender: the cheapest, fastest possible
renovation to provide the quickest possible return on
investment.
IN BIH 1995-2010 89
IDENTITET IDENTITY Secesijska arhitektura Sarajeva je svoj najmonumentalniji
izraz dosegla na objektu Pote iz 1913. godine, djelu
Obnova arhitekta Josipa Vancaa. Tokom maja 1992. godine objekt
Restoration and Reconstruction je zajedno s potanskim terminalom i dograenim
ankesom iz 1959. godine pretrpio znatnu destrukciju.
Proces obnove, koji je trajao od 1995. do 2001. godine,
bazirao se na sloenoj konstruktivnoj sanaciji uz
rekonstrukciju i restauraciju s ciljem vraanja i ouvanja
autentinog izgleda objekta. Na objektu su od njegovog
nastanka izvrene odreene intervencije koje su neznatno
izmijenile njegov izvorni unutranji i vanjski izgled
oteenja i uklanjanje fasadnih elemenata tokom Drugog
svjetskog rata te realizacija odreenih graevinskih
zahvata na stabilizaciji objekta koji su izvedeni u periodu
1982/83. godine zbog znaajnih oteenja
prouzrokovanih zemljotresom. Jedino je glavna aula kao
centralni i najreprezentativniji prostor ostala intaktna do
ratnih razaranja 1992-1995. godine. Prilikom obnove
projekta koritena je sva dostupna dokumentacija, na
osnovu koje je elina konstrukcija aule projektirana
prema izvornoj konstrukciji uz statiku provjeru. Kod
obnove fasade koriteni su originalni crtei J. Vancaa kao
osnova za izradu devastiranih elemenata ili elemenata
koji su tokom vremena uklonjeni. Svi zateeni dekorativni
elementi s fasade su skinuti, radioniki restaurirani te
ponovo vraeni na fasadu. Originalni crtei enterijera nisu
postojali, pa su pojedini mobilijar, prostori telefonskih
govornica kao i cjelokupni prostor centralne aule
prjektovani na osnovu starih fotografija. Projektom
obnove uspio se povratiti monumentalni karakter objekta,
koji odraava stanje iz 1913. godine, uz odreene zahvate
modernizacije u enterijeru koji proizlaze iz tehnolokih
zahtjeva.
Obnova Glavne
pote
Reconstruction of
the Central Post
Ofce
Arhitekti/Architects: Ferhad Mulabegovi Saradnici/Collaborators: Mustafa Guti Lokacija/Location: Sarajevo Godina/Year: 1995 -
2000. Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: Javno preduzee PTT saobraaja
Sarajevo/Public Enterprise PTT Sarajevo BGP objekta/GBA: 10.000 m2 Fotograf/Photographer: Ferhad Mulabegovi
90 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Sarajevo acquired its most splendid example of Secessionist
architecture with the Post Office, built in 1913 to a design
by the architect Josip Vanca. It was badly damaged in May
1992, along with the sorting office and the 1959 extension.
The restoration, which took from 1995 to 2001, was based
on complex structural remedial works along with
reconstruction and restoration, with a view to restoring and
preserving the buildings authentic appearance.The building
had undergone various interventions over its lifetime, which
had had no major impact on its original outward appearance
and interior damage to and the removal of faade elements
during World War II and certain building works to stabilize
the building in 1982-1983 following quite severe
earthquake damage. All that remained unaltered until the
ravages of the 1992-1995 war was the main hall, the central
and most representative part of the building. During
restoration, all available documentation was consulted,
enabling the steel structure of the main hall to be designed
in line with the original and statically tested. The original
drawings by Josip Vanca were used when restoring the
faade, making it possible to replace features that were
either too badly damaged to restore or that had been
removed in the past. All the surviving decorative elements
were removed from the faade, restored in the workshop and
replaced. The original drawings of the interior were no
longer extant, so some aspects of the fixtures and fittings,
the telephone booths and the entire central hall, were
designed on the basis of old photographs.
The monumental character of the building has been
successfully restored to what it was in 1913, with a degree of
modernization of the interior for technical reasons.
IN BIH 1995-2010 91
IDENTITET IDENTITY Rekonstrukcija historijskog objekta iz 1892. godine,
autora irila Ivekovia, izvedena je uz potivanje svih
Obnova pravila zatite objekata kulturno-historijskog naslijea.
Restoration and Reconstruction Ovaj veoma sloeni zahvat obuhvaao je unutranju
adaptaciju objekta i detaljnu rekonstrukciju fasade.
The reconstruction of the historic edifice dating back to
1892, designed by iril Ivekovi, was carried out in line with
all the principles of cultural heritage protection.This
extremely complex undertaking covered interior alterations
as well as a detailed reconstruction of the faade.

Objekt u pseudomaurskom stilu projektiran je kao
reprezentativna gradska kua, s naglaenim glavnim
proeljem zgrade okrenutim trgu. Ta glavna fasada
koncipirana je po principu stroge simetrije; centralni
rizalit naglaava glavni ulaz u objekt, dok je cijela fasadna
kompozicija zavrena sa dva bona rizalita kule, nad
kojim dominiraju kupole oblikovane u duhu orijentalne
arhitekture i iroko preputene strehe s nizom konzolica.
Ritam prozorskih otvora je ravnomjeran, a podioni vijenci
plitki, tako da se arhitektonska kompozicija fasade gradi
po horizontali. Prozorski otvori su zavreni orijentalnim
lukovima i formirani u obliku bifora.
Projektom rekonstrukcije zadrana je namjena objekta,
tako da on i dalje predstavlja Gradsku kuu s kabinetom
gradonaelnika i prateom administracijom. Meutim,
uvedeni su i dodatni sadraji u vidu gradske likovne
galerije, s posebnim vanjskim ulazom i vezom s ostalim
sadrajima u nivou prizemlja.
This pseudo-Moorish building was planned as a
representative town house, with the emphasis on the main
front overlooking the square. This main faade was designed
on the principle of strict symmetry: the central risalit
highlights the main entrance to the building, and the
composition is completed by two flanking risalits or towers
surmounted by domes evoking oriental architecture and wide
projecting eaves with a series of small consoles. The rhythm
of the fenestration is regular, and the string courses are
shallow, so that the architectural composition of the faade
is constructed in horizontal terms. The biforate window
openings are surmounted by oriental arches. The
reconstruction project retained the original use of the
building, which remains the Town Hall with the Mayors
office and ancillary services. At the same time, new elements
have been added, in the form of the Town Art Gallery, with its
own separate entrance, but also connecting with the other
ground-floor premises.

Rekonstrukcija
objekta Gradske
vijenice
Reconstruction of
the Town Hall

Arhitekti/Architects: AMBIJENT Husejn Dropi, Ferhad Mulabegovi Saradnici/Collaborators: Selma Hajri, Mehmed Dropi, Nedim
Sulji, Mevludin Arapi, Avdija Hodi, Midhat Piri Lokacija/Location: Brko Distrikt Godina/Year: 2006-2010. Tip/Type:
ugovor/commission Investicija/Investment: javna/public Klijent/Client: Vlada Brko Distrikta BiH, Odjeljenje za javne
poslove/Government of Brko District of Bosnia and Herzegovina, Department for Public Affairs BGP objekta/GBA: 1.380 m
Fotograf/Photographer: Husejn Dropi

92 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 93

IDENTITET IDENTITY Austrougarski fortifikacijski objekt Mala kula, nakon
istaknute uloge u odbrani opkoljenog Sarajeva, tokom
Obnova koje je pretrpio znatna oteenja, udruenje ratnih
Restoration and Reconstruction veterana eljelo je adaptirati u memorijalni centar.
Pored nove namjene, prema arhitektovom prijedlogu,
objekt je dobio osavremenjeni vizualni identitet kreiran
kroz dijalog savremenog arhitektonskog iskaza sa
zatenim vrijednostima starog objekta i ambijenta
prirodnog izletita s vizurama prema gradu. Originalni
objekt sastoji se iz prizemlja, kata i prohodne terase,
povezanih unutranjim trokrakim stepenitem, dok je u
horizontalnom planu komponiran iz kvadratnog korpusa 9
x 9 metarai dvije periferne kule radijusa 5 metara. Vanjski
i unutranji zidovi su zidani od kamena, a meukatna
konstrukcija su spregnute ploe. Arhitektonskom
intervencijom nastojala se uspostaviti ravnotea izmeu
spomenikog i funkcionalnog aspekta planirane namjene.
Unutranji usitnjeni prostori s malim otvorima pukarnica
svojim karakterom su bili primjereni za sadraje spomen-
sobe i prateih funkcija, dok je terasa s panoramskim
pogledom cijelom povrinom natkrivena i pretvorena u
cafe vidikovac. Krov u obliku izlomljenih bijelih ploha
kosih krovnih ravni funkcionalno i simboliki natkriljuje
kamenu bazu originalne arhitektonske strukture,
utjelovljujui joj apstraktni simboliki i spomeniki
karakter.
Obnova
fortikacije Mala
kula
Reconstruction of
the Mala Kula
fortications
Arhitekti/Architects: Adnan Pai Saradnici/Collaborators: Maja Grabovac, Senaida Halilovi, Aida Kulenovi, Esad Mulavdi, Nedim
Muteveli, Amer Sadikovi Lokacija/Location: Sarajevo Godina/Year: 2008-2009. Tip/Type: ugovor/commission Investicija/Investment:
javna/public Klijent/Client: JOB Unija veterana opine Centar/JOB Vetererans Association, Centre Municipality
BGP objekta/GBA: 188 m Fotograf/Photographer: Adnan Pai
94 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The Austro-Hungarian fortifications known as Mala Kula
played a major part in the defence of the besieged city of
Sarajevo, during which it was extensively damaged. After the
war, the Union of War Veterans sought to have it adapted
into a memorial centre.
In addition to its new use, the architects design envisaged
an updated visual identity by creating a dialogue between
modern architecture and the old building and its setting a
place for outings to the country with views of the city.The
original building had a ground, upper and terrace levels
connected by an inner staircase, while in plan, it consists of a
central square with sides of 9 metres and two flanking
towers each with a radius of 5 metres. The outer and interior
walls are of stone, and the interstorey construction is
composite.The intention behind the architectural
intervention was to achieve a balance between the memorial
and the functional aspects of the intended use. The small
interior spaces with their loopholes were suitable for the
memorial room and its ancillary functions, while the terrace,
with its panoramic view of the city, is roofed over and
converted into a belvedere caf. The form of the roof, with its
broken white surfaces, both functionally and symbolically
overarches the stone base of the original building, imbuing it
with symbolism as a monument.
IN BIH 1995-2010 95
IDENTITET IDENTITY Obnova i ouvanje graditeljskog nasljea te primjena
odgovarajuih metoda i tehnologija vaan su dio
Obnova arhitektonske prakse. Osnovni cilj projekta obnove crkve i
Restoration and Reconstruction starog konaka manastira itomisli bila je primjena
autentinih materijala i tehnologija.
Crkva Blagovjetenja Presvete Bogorodice manastira
itomisli, koja je sruena juna 1992. godine, podignuta
je u periodu 15/16. vijek na temeljima stare bogomolje.
Stari konak manastira itomisli sagraen je 1767. godine
i tokom svoje istorije bio je vie puta prepravljan.
Tokom obnove starog konaka, pored primijenjene
konstruktivne sanacije i restauracije, teilo se
prilagoavanju objekta aktuelnim savremenim
potrebama, ne naruavajui pritom njegove spomenike i
izraajne vrijednosti. Unutar zadatih gabarita ostvarena je
dobra funkcionalna povezanost novih sadraja. Crkva je
rekonstruisana u istom obliku i dimenzijama kao i prije
ruenja. Prilikom zidanja crkve nije upotrijebljen nijedan
novi kameni blok, a motiv kamene rozete prvobitne crkve,
koja je u potpunosti unitena u eksploziji, posluio je kao
uzor za dizajn polijeleja.
Poseban doprinos ovog sloenog projekta je u ponovnom
oivljavanju manastira poslije desetogodinjeg perioda
diskontinuiteta, jedinog od njegovog osnivanja.
The restoration and preservation of the built heritage and
the application of appropriate methods and techniques is an
important part of architectural practice. The basic aim of the
restoration of the church and old konak (residence) of the
itomislii monastery was to use authentic materials and
techniques.
The church of the Annunciation in the itomislii monastery,
which was destroyed in July 1992, was built in the 15th-16th
century on the foundations of an older place of worship. The
old konak was built in 1767, and had undergone repairs on
several occasions since then.During the renovation of the old
konak, in addition to structural repairs and restoration, the
aim was to adapt the building to modern needs without
detriment to its stylistic and monumental features. New
facilities were successfully incorporated into the existing
building. The church was reconstructed in the same form
and of the same dimensions as before its destruction. Not
one new stone block was used when rebuilding the church,
while the stone rosette, which had been completely
destroyed in the explosion, was used as the model for the
design of the chandelier.
The project is of particular significance in that it ensured the
revival of the monastery after a ten-year break, the only one
since it was first founded.

Obnova crkve
Blagovjetenja i
starog konaka
manastira
itomisli
Reconstruction of
the Church of the
Annunciation and
the old Konak of
itomisli
Monastery

Arhitekti/Architects: Milijana Okilj Saradnici/Collaborators: Nevena ebi, Marina Radulj, Jelena Savi Lokacija/Location: itomislii
Mostar Godina/Year: 2002-2005. Tip/Type: ugovor/commission Klijent/Client: Eparhija zahumsko-hercegovaka i primorska, Eparchy
zahumsko-hercegovaka and primorska BGP objekta/GBA: 540 m Fotograf/Photographer: Milijana Okilj

96 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 97

IDENTITET IDENTITY Autori projekta zgrade Ekonomskog fakulteta suoili su se
s kompleksnim zadatkom kako rijeiti sloene zahtjeve
Obnova koje diktiraju nove potrebe iskazane kroz projektni
Restoration and Reconstruction program i kako ih dovesti u optimalnu korelaciju sa
zateenim stanjem.
Dogradnja i rekonstrukcija zgrade Ekonomskog fakulteta
podrazumijevala je izgradnju drugog i etvrtog sprata nad
postojeim objektom te rekonstrukciju i opremanje novih
i postojeih prostora. Izgradnja aneksa odnosno
fakultetskog kluba kao posebnog funkcionalnog i
oblikovnog elementa u novoj strukturi cjelokupnog
prostora i opremanje sale za konferencije kao
vienamjenskog prostora za odravanje meunarodnih
skupova i predavanja predstavljali su kreativni izazov. U
konstruktivnom i oblikovnom smislu naglaena je
dinamika osnovnog konstruktivnog sklopa, s posebnim
akcentom na sjenila i orijentaciju objekta. Nova gradnja je
naglaena s ciljem da se razdvoji postojee i novo. Naime,
objekat je zavren sedamdesetih godina prolog stoljea,
te je nova intervencija raena s ciljem da se jasno
razdvoje razliiti vremenski slojevi u izgradnji objekta.
The project for the Faculty of Economics building presented
the architects with the complex task of meeting a range of
demands dictated by new needs and fitting them into the
existing building as effectively as possible.
The reconstruction and extension of the Faculty of
Economics building involved the construction of an
additional two floors as well as the reconstruction and
furnishing of new and existing spaces. A particular design
challenge was the construction of an annex, the Faculty Club,
as a separate functional and design element in the new
structure of the building, as well as furnishing the conference
hall as a multifunctional space for international meetings
and lectures. The new parts of the building emphasize the
dynamics of the basic structure, both structurally and
formally, with special emphasis on shadows and the
orientation of the building. The new components have been
designed to highlight the difference between old and new.
The original building dates from the 1970s, while the new
extensions are designed to reveal clearly the difference
between the different chronological strata in the
construction of the building.

Rekonstrukcija
Ekonomskog
fakulteta
Reconstruction of
the Faculty of
Economics

Arhitekti/Architects: Arhitektonsko-graevinski fakultet Univerziteta u Banjoj Luci/Architecture and Civil Engineering University of Banja
Luka Saa B. voro, Malina voro /4+arhitekti/ Saradnici/Collaborators: Radovan Beleslin, Predrag Tonti Lokacija/Location: Banja
Luka Godina/Year: 2004-2009. Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: Ekonomski fakultet
Univerziteta u Banjoj Luci/Faculty of Economics, University of Banja Luka BGP objekta/GBA: 3.400 m Fotograf/Photographer: Saa B.
voro, Malina voro

98 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 99

IDENTITET IDENTITY Bive robne kue ponos zajednice i simboli progresa u
doba snane kolektivne i socijalne svijesti drutva u
Obnova kojem su nastajale bile su ekvivalenti socijalizma u
Restoration and Reconstruction odnosu na crkve ili damije. Smjetane su u sami centar
novoga grada, kao nukleusi novog ivota, i graene u
skoro svim manjim gradovima Bosne po istom receptu, sa
ostakljenim prizemljem i zatvorenim gornjim kubusom
tijela. Novi objekt je s novom namjenom, ali i s istom
namjerom, uz peat tranzicijskih vremena. U prizemlju je
market, osnovna djelatnost kompanije koja ovo finansira.
Na spratu su pratei sadraji, prodavnice, ugostiteljski
objekti, te jedno od prvih multipleks kina u Bosni.
Autorska inspiracija u formi otvorene crvene opne znak je
Rolling Stonesa i uvenih usta Micka Jaggera koja su
upijala posjetioce. Okolna opna je krljut od staklenih
okruglih diskova distanciranih od termo fasade
pikselizirana reflektirajua opna u kojoj se ogleda okoli.
Zgrada je provokativna, jasno pokazujui pripadnost
dananjim objektima konzumerizma. Unutranjost objekta
je orkestrirana po spratovima. Prvi sprat je otvoren i
podijeljen na niz ugostiteljskih objekata, i sadri mnoge
ambijente objedinjene jednim snack-barom. Gornji, trei
sprat, plovee je (floating) forme, kao bioskopska traka s
tri bioskopske sale. Osnova ovakvih objekata, stvorenih u
brzini dananjeg vremena, pokazuje jasnu unutranju
komunikaciju jer kretanje pospjeuje potronju. Objekt
mora biti fleksibilan i nadogradiv. Primjer je ovo
nestalne arhitekture, arhitekture stalne promjene - up-
grade arhitekture.
VF Lukavac
VF Shopping
Centre
Arhitekti/Architects: Amir Vuk Saradnici/Collaborators: Sanela Belko, Kenan Brkalija, Danijela Blaevi, Aldin Jejna, Lada Maglajli
Lokacija/Location: Lukavac Godina/Year: 2005. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client:
VF komerc BGP objekta/GBA: 4.500 m 3D Redering: Rusmir izmi
100 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Department stores were once the pride of the community and
symbols of progress, built at a time of strong collective and
social awareness. They were the communist equivalents of
mosques and churches. They were usually situated in the
centre of new towns, as the nucleus of the new way of life
and symbols of progress, appearing in almost every smallish
town in Bosnia and Herzegovina, and always following the
same model: a glazed ground floor and an enclosed upper
floor. The new shopping centre serves a new purpose, but to
the same end, and thus bears the features of this period of
transition. The ground floor houses the main market, the
core activity of the company financing the project. The first
floor houses ancillary facilities, shops and catering
establishments, and one of the first multiplex cinemas in
Bosnia and Herzegovina. The open red mouth of the Rolling
Stones logo, based on Mick Jaggers famous mouth which
sucks in visitors, formed the inspiration for this. The outer
cladding consists of glass discs in a fish-scale design, set
clear of the thermo-faade and designed to be a pixelised
reflective membrane mirroring the surroundings. The
building is deliberately provocative, as an example of the
consumerism of our time. The interior of the building is
orchestrated storey by storey. The first floor is open-plan,
with a number of catering facilities linked by a snack-bar.
The floating top floor is like a film track with three cinema
halls. Buildings like this are based on clear internal
communication, because movement increases consumption.
They must be flexible and upgradable. This is up-grade
architecture, transient architecture, the architecture of
constant change.
IN BIH 1995-2010 101
IDENTITET IDENTITY Remake
Obnova Postojeu zgradu ogoljeti do kostura, nadograditi, nanovo
Restoration and Reconstruction obui, i sa istom namjerom kao prethodni arhitekt ekati
dostojanstveno ta e se desiti ispred vas to je remake
arhitektura.
Diskretna poslovna zgrada, Sarajlijama poznata kao 22.
decembar, modna kua vojnih uniformi, u neposrednoj je
blizini s glavnom sarajevskom pijacom Sarajeva, uvenim
Markalama. Pravougaone forme u tlocrtu, kao i u presjeku
ona je egzemplar moderne. Nadograeni sprat je u
sintaksi te arhitekture. Povuen je i akcentiran strehom,
koja se po bonoj strani sputa i krije poarno stepenite.
Ispred udarne fasade, koja prima jugozapadno svjetlo,
ispletena je zavjesa od eline mree. Dijelovi staklene
fasadne opne mjestimino su pikselizirani transparentnim
staklom. Tako dnevno svjetlo boji unutranje prostore, a
kad je rasvjeta u funkciji boji fasadu. Kua je light
verzija prethodne. Svedena je na jednu fasadu. Maknute
su prethodne parapetne podloge i postavljena lelujava
transparentna opna. Akteri u dramatici ove fasade su
upravo ovovremeni materijali od trespe bakelitne
obloge u dezenu drveta, do inoks mree i stakla u boji.
Modna konfekcija
Ready-to-wear
fashion
Arhitekti/Architects: Amir Vuk Saradnici/Collaborators: Damir Tatli, Kenan Brkalija Lokacija/Location: Sarajevo Godina/Year: 2008.
Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Modna konfekcija d.d.
BGP objekta/GBA: 2.720 m
102 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Remake
The existing building is to be stripped to the bone, upgraded,
reclad, with the same intention as the previous architect, to
wait with dignity for whatever is going to happen in front of
you. This is remake architecture.
The discreet commercial property known to the residents of
Sarajevo as 22 December, a retail outlet for military
uniforms, is right by Sarajevos busy central market, Markale.
Rectangular in plan and elevation, it is the epitome of
modernism. The additional storey, which is set back and
accentuated by eaves which dip down to the side to conceal
the fire escape, retains the same architectural syntax. The
main faade, facing south-west, is curtained in steel mesh.
Portions of the glass faade are partly pixelized with
transparent stained glass, so that daylight casts pools of
colour in the interior, and when the lighting is turned on it
colours the faade. The building is a lite version of its
predecessor, reduced to a single faade. The original
parapets have been removed, and replaced by a floating
transparent membrane. The actors in the drama of this
faade are avant-garde materials, ranging from wood-
textured bakelite Trespa panels to stainless steel mesh and
stained glass.
IN BIH 1995-2010 103
IDENTITET IDENTITY Objekt, arhitektura, transformacija
Obnova Globalno gledano, ekonomski uvjeti, brzi razvoj
Restoration and Reconstruction tehnologija i promjena ivotnih parametara ovjeka
postavljaju zahtjeve arhitektima da prakticiraju
transformacije, redizajn ostarjelih objekata u nove
namjene, logino i nove tehnoloke cjeline. To je sluaj i s
objektom servisa za autobuse u Bosanskom Brodu,
neposredno uz granini prijelaz s Republikom Hrvatskom,
koji se, poput Pepeljuge, transformira u novi prodajni
centar. Projekt jasno oituje rezultate rada tima
arhitekata: u enterijeru objekta moe se skoro sve
promijeniti, pa ak djelomino i osnovna konstrukcija,
koja se u pravilu mijenja dopunjavanjem, a vrlo malo
reduciranjem konstruktivnih elemenata, to pokazuje da
je transformacija zadovoljila novi tehnoloki zahtjev.
Dizajnirajui vanjski dio objekta, tim arhitekata je odluio,
u elji da bude racionalan, upotrijebiti dva osnovna
elementa: novi lagani plat objekta, koji
polutransparentno prekriva postojee stanje, i iluminaciju
objekta, kombiniranu sa stiliziranim logotipom u maniru
pop-arta, materijaliziranim istim materijalom kao i
osnovni plat, to je zakljuak da plat daje jedan vizualni
ugoaj u toku dana, a nou iluminacija dopunjuje plat i
rezultira novim arhitektonskim ugoajem. Sam plat, kao i
njegov postament, blago je zatalasan, kao dio magnitude
kretanja informacija i ljudi iz pravca granice s Hrvatskom
ka unutranjosti. Objekt, u konanici, sa svojom novom
scenografijom dominira okolnim prostorom i postaje
akcent i prvi dojam za posjetioce koji ulaze u zemlju iz
Hrvatske.
Prodajni centar
Shopping Centre
Arhitekti/Architects: Adnan Drnda, Sulejman Midi Saradnici/Collaborators: Majda Taletovi Lokacija/Location: Bosanski Brod
Godina/Year: 2006/2007. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: TROPIC, Banja Luka
BGP objekta/GBA: 4.500 m Fotograf/Photographer: Arhitektonski atelje 4
104 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Property, architecture, transformation
Globally speaking, economic circumstances, rapid
technological advances and changing lifestyles require
architects to practise transformation, the redesign of
obsolete buildings for new uses, and consequently as new
technological entities. This is the case with the bus service
centre in Bosanski Brod, near the border crossing with
Croatia, which has undergone a Cinderella-like
transformation into a new shopping centre.
The project is a clear demonstration of the work of the team
of architects: almost everything in the interior can be
changed, and even part of the basic structure of the building,
which usually means an addition to rather than a reduction
in the structural elements, indicating that the transformation
has met the new technological requirements. In their design
for the exterior of the building, the team of architects
decided, for reasons of economy, to use two basic elements: a
new lightweight semi-transparent structure cladding the
existing building, and floodlighting combined with a stylized
pop-art style logo in the same material as the basic cladding,
providing a new visual experience in daylight, while at night,
the floodlighting complements the cladding, creating a new
architectural experience. The cladding and its footing are
gently undulating, as part of the magnitude of the movement
of information and people from the Croatian border to the
hinterland of Bosnia and Herzegovina.The new appearance
of the building dominates its surroundings, and has become
the first impression for visitors entering the country from
Croatia.
IN BIH 1995-2010 105

B
Zajednice Communities
Zajednice / Communities
Crkve i damije (vjerski objekti)
Churches and mosques (religious buildings)
Bolnice i kole
Hospitals and schools
106 R E S TA RT A R H I T E KT U RA
Klasina distinkcija Ferdinanda Tnniesa izmeu Gemeinschaft
(zajednica) i Gesellschaft (drutvo) primjenjuje se i na arhitekturu. Kao
to postoji javni prostor i javna arhitektura, koja je smjetena u
domenu Gesellschaf-a i pripada svima (a time esto nikome), postoji i
arhitektura zajednice, koju koriste grupe ljudi sa razliitim gleditima i
vrijednostima, i gdje oni esto ostvaruju svoju zajednicu. Nasuprot
obino anonimnim javnim uslovima su okruenja kolektivnog
angamana, iji se primjeri mogu nai diljem Bosne i Hercegovine, u
crkvama i damijama, kolama i bolnicama, u sportskim klubovima i
centrima gdje se ljudi okupljaju i drugim drutvenim mjestima.
Osobito se u crkvama i damijama preklapaju fizika i metaforika konstrukcija zajednice. Zgrada jedne
crkve ili damije esto je zajedniki pothvat u kojem selo, susjedstvo ili opina pomau u prikupljanju
potrebnog novca i grae, katkad ak i obavljaju graevinske radove.
Drutvo se obino sastoji od kombinacija i djelominih preklapanja razliitih zajednica, od kojih svaka ima
vlastitu artikulaciju, kao to je to zacijelo na bolan nain pokazala nedavna povijest Bosne i Hercegovine.
Ba kao to svaki pojedinac ima nekoliko identiteta, ili barem jedan identitet sa nekoliko aspekata, isto
vai i za zajednice. Gotovo svi pripadamo jednoj ili vie zajednica, svojim roenjem, ivotom, porodinim
vezama, mjestom stanovanja, kolom, poslom, uvjerenjima, sportskim klubovima i hobijima. Negdje na
pola puta izmeu individualnosti i privatnog domena i javnog domena drutva, postoji mnotvo
zajednica. Upravo u tom domenu zajednice mi se nadamo da emo nai kohezivne sile kadre da dre na
okupu pojedinca i drutvo.
Ferdinand Tnnies classic distinction between Gemeinschaft
(Community) and Gesellschaft (Society), also applies to architecture. As
well as public space and public architecture, which are situated in the
domain of Gesellschaft and belong to everyone (and therefore often to
no-one), there is communal architecture, which groups of people with
different views and values make use of, and where they often actualize
their community. Counterposed to the usually anonymous public
conditions are environments of collective engagement, examples of
which can be found all over Bosnia and Herzegovina, in churches and
mosques, schools and hospitals, in sports clubs, community centres
and other social spaces.
In churches and mosques in particular the physical and metaphorical construction of community often
overlap. The building of a church or a mosque is frequently a collective undertaking whereby a village,
neighbourhood or municipality helps to collect the necessary money and materials, and sometimes even
carries out the construction work as well.
Society usually consists of combinations and partial overlaps of different communities, each of which has
its own articulation, as recent history in Bosnia and Herzegovina has made painfully clear.
Just as every individual has several identities, or at any rate an identity with several facets, so too with
communities. Almost everyone belongs to more than one community, by virtue of birth, life, family ties,
friendship, place of residence, school, work, convictions, sports club and hobbies. Somewhere midway
between the individuality of the private domain and the public domain of society, is a multiplicity of
communities. It is in this communal domain that we may hope to find the cohesive forces capable of
keeping individual and society together.
U BIH ARCHITECTURE IN BIH 1995-2010 107
 B
Zajednice Communities

Crkve i damije
Churches and mosques

24. Husejn Dropi, Mehmed Dropi: Bijela

damija / White Mosque, Brko, 2005.
33

25. Husejn Dropi: Nova Rijeanska damija /

New Rijeanska Mosque, Zvornik, 2006.
34

26. Amir Vuk, Kenan Brkalija: Damija Ostojii

/ Ostojii Mosque, Bjelanica, 2007.
35

27. Hamdija Salihovi: Damija u Novom

naselju Bosne, 2009. 36

28. Ivan traus: upna crkva, Zovik / Zovik

Parish Church, Brko, 1997. 37

29. Nikola Maslej: Oltar za doek pape Ivana

Pavla II /Altar for Pope John Paul II,
Sarajevo, 1997. 38

30. Bojan Radoni, Goran Rako: Kapelica

bolnice u Novoj Biloj / Hospital Chapel in
Nova Bila, 1997. 39

31. Nina Ugljen-Ademovi: Katolika kapela u

eravcu / Catholic Chapel in eravac, 2008.
41

32. Marko Mui: Nova crkva Roenja Blaene

Djevice Marije / New Church of the Nativity
of the Blessed Virgin Mary, Kotor-Varo,
1998-2010. 42

33. Marko Mui: Nova crkva u svetitu sv. Ive

Krstitelja / New church and rectory at the
Shrine of St John the Baptist, Podmilaje,
2005-2010. 43

34. Marko Mui: Jubilarni kri i kapela

Uskrsnua / Jubilee cross and chapel of the
Resurrection, Grabe iznad Podmilaja,
2000. 44

35. Nikola Maslej: Crkva Sveta obitelj / Church

of the Holy Family, iroki Brijeg, 2002.
45
108 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 109
ZAJEDNICE COMMUNITIES Objekt nove damije kao ista kompozicija jednostavnih
volumena sadri niz inspirativnih motiva proisteklih iz
Crkve i damije tradicionalnog naslijea ovog podruja.
Churches and mosques
Potovan je princip postupnog gradiranja do molitvenog
prostora, karakteristian za osmanlijske gradske damije.
Ogradni zid harema razdvaja sakralno i profano, i
osigurava potrebnu intimu i pripremu vjernika za
obavljanje molitve. Krov glavnog molitvenog prostora je
stilizirana kupola u obliku izvrnute lae (asocijacija na
amce koji su plovili i plove rijekom Savom), koja je
postavljena u pravcu sjever jug, a dijagonalno u odnosu
na tlocrt molitvenog prostora. Dno lae je zastakljena
traka, koja je u funkciji glavnog svjetla u molitvenom
prostoru. Dodatno svjetlo dolazi kroz prozore, koji
osiguravaju i dobru prirodnu ventilaciju i povezanost
zatvorenog prostora sa zelenilom u haremu damije.
Prostor harema prua mogunost razliitog koritenja, a u
vrijeme okupljanja veeg broja vjernika moe sluiti i za
obavljanje molitve.
Poloaj damije unutar slobodnog prostora Gradskog
parka inicirao je pozicioniranje triju ulaznih pravaca u
harem damije na natkrivenu pjeaku promenadu, iz koje
se razdvajaju muki i enski ulaz, te zajedniki ulaz u
drutvene prostorije. Sadraji damije pruaju mogunost
okupljanja posjetilaca u prigodama raznih izlobi,
promocija, veeri poezije i drugog, jer su u okviru damije
izgraene uionica mekteb, i multimedijalna sala
kapaciteta 80 mjesta.
The new mosque, a pure composition of simple volumes,
consists of a series of inspirational motifs stemming from the
traditional heritage of this part of the world.
The principle of a gradual approach to the prayer hall,
typical of Ottoman city mosques, was respected. The harem
wall separates the religious from the profane and ensures
the necessary privacy, enabling the congregation to prepare
to perform the prayer. The roof of the main prayer hall is a
stylized dome in the form of an upturned boat (a reference to
the boats that sail the River Sava), lying north-south,
diagonally across the ground plan of the prayer hall. The
keel of the boat is a glazed strip, the main source of light
for the prayer hall. More light enters through the windows,
which also provide good natural ventilation and link the
closed space with the greenery of the mosque harem. The
harem can be used in a variety of ways, including as an
additional space for prayer when very large numbers of
worshippers attend.
The location of the mosque in the open space of the Town
Park dictated the position of the three entrances to the
mosque harem along a covered footpath, which branches
into separate entrances for men and women and a third
entrance to the common parts: the mosque includes a
classroom or mekteb (Quran school) and a multimedia hall
with a seating capacity of 80 where visitors can attend
various exhibitions, launches, poetry readings and so on.

Bijela damija
White Mosque

Arhitekti/Architects: AMBIJENT Tuzla, Husejn Dropi, Mehmed Dropi Saradnici/Collaborators: Ljubia Tei, Mevludin Arapi, Avdija
Hodi, Midhat Piri Lokacija/Location: Brko Distrikt Godina/Year: 2001-2005. Tip/Type: ugovor/commission Investicija/Investment:
privatna/private Klijent/Client: Islamska zajednica u Bosni i Hercegovini, Muftijstvo tuzlansko - Tuzla/Islamic community in Bosnia and
Herzegovina, Mufti of Tuzla -Tuzla BGP objekta/GBA: 640 m Fotograf/Photographer: Husejn Dropi

110 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 111

ZAJEDNICE COMMUNITIES
Crkve i damije molitvenog prostora, korpus prateih sadraja, munara i
Churches and mosques
Osnovnu oblikovnu strukturu novog kompleksa
Rijeanske damije ine etiri oblikovna elementa: korpus
ogradni zid, koji prati granicu graevinske parcele i
formira harem damije.
Njihove korelacije su u zadatku formiranja prostora
zborita za svakodnevne potrebe vjernika muslimana u
vrijeme dnevnih namaza, obavljanja duma-namaza
petkom i vea okupljanja u vrijeme ramazanskih dana i
Bajrama. Projektirani ogradni zid je veza s tradicijom u
izgradnji bosanskih gradskih damija i on je ujedno i prvo
nenaglaeno razdvajanje profanog svjetovnog, od
sakralnog, tako da se vjernici kroz nekoliko sekvenci
pribliavaju molitvenom prostoru odnosno mihrabu. U
okviru ograenog kompleksa projektiran je molitveni
prostor kvadratnog oblika dimenzija 12 x 12 m, ispred
kojeg se nalazi aneks s prostorima za uzimanje abdesta i
ostavljanje obue te staklom pokriveni trijem koji
povezuje ulaze iz ulica s ulazima u damiju i ulazom u
pratee sadraje. U nastojanju da se vjernicima omogui
odgovarajua intima u toku boravka u prostorima
kompleksa, a posebno u vrijeme molitve, i da se osigura
odgovarajua zatita od sunca s razliitim svjetlom u toku
dana, projektirani su brisoleji od drvenih stupova, koji su
postavljeni tako da formiraju naglaeni vertikalni ritam na
fasadi s asocijacijom na splavove koji su sputani niz
rijeku Drinu.
The basic design structure of the new Rijeanska Mosque
complex consists of four elements: the prayer hall, ancillary
facilities, the minaret, and the boundary, which follows the
boundary of the plot and forms the mosque harem.
Their correlation forms the entire space and provides a
meeting point for the daily needs of the Muslim congregation
the five daily prayers, the Friday congregational prayers
and gatherings during the Holy Month of Ramadan and Eid.
The design of the boundary wall forms a link with the
tradition of Bosnian urban mosques and is also the first,
unobtrusive demarcation between the public, secular domain
and the religious. Worshippers approach the prayer hall and
mihrab through a number of sequences. The walled complex
includes a square prayer hall with sides of 12 metres,
preceded by an annex with premises for ritual ablutions and
a place to leave shoes, along with a glass-roofed porch
linking the street entrances with the entrances to the
mosque and its appurtenances. To ensure privacy for the
congregation while in the mosque, and especially while at
prayer, and to protect them from the sun at various times of
day, a brise-soleil of wooden pillars has been designed, set to
create an emphatic vertical rhythm on the faade that evokes
the rafts on the River Drina.

Nova Rijeanska
damija
New Rijeanska
Mosque

Arhitekti/Architects: AMBIJENT Tuzla, Husejn Dropi Saradnici/Collaborators: Samir Salkanovi, Nenad Kovaevi Lokacija/Location:
Zvornik Godina/Year: 2006. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Islamska zajednica u
Bosni i Hercegovini, Muftijstvo tuzlansko Tuzla/ Islamic community in Bosnia and Herzegovina, Mufti of Tuzla Tuzla BGP
objekta/GBA: 930 m Fotograf/Photographer: Husejn Dropi

112 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 113

ZAJEDNICE COMMUNITIES Etika = estetika (Wittgenstein)
Crkve i damije Autori su skromnu drvenu kolibu uslijed svetosti namjere
Churches and mosques pretvorili u mjesto kontemplacije.
Ideja o gradnji jedine damije u selu Ostojii, koje se
stoljeima protee na obroncima planine Bjelanica, prije
svega je plod dobre namjere (nijeta) jednog ovjeka iz
sela.
Ono to ovaj projekt na samom poetku ini
interesantnim jest elja seljana da sami podignu svoju
damiju, uz finansijsku potporu sponzora i strunu pomo
arhitekte. Prepoznavi sinergiju dobre namjere
kolektivnog duha, autori su s visokim senzibilitetom
razvili jednostavan koncept, usklaen s ambijentom,
naelima religije i potrebama mjetana. Damija u selu,
kao i svaka mahalska damija, dio je cjeline, vir kome sve
ide i emu se sve vraa. Namjera autora je bila projektirati
damiju koja e zaista biti damija mjetana, koju e oni
izgraditi svojim rukama i svojom energijom. Autori polaze
od uvjerenja da je savremena fizika teoretski vrlo blizu
teologiji prema teoriji struna vibracije odreuju
materijalizaciju, a ljubav i zajednitvo su pozitivne
vibracije. Damija u Ostojiima je istinski dokaz toga.
Tlocrt je ovalnog oblika, a proizlazi iz poloaja ruku
muslimana pri molitvi, to je ujedno i oblik koji
predstavlja okupljanje mjetana. Nad takvim oblikom
dignut je krov tipian za taj kraj. Tendencija je bila da to
bude obina koliba, kojoj e sveti karakter Boije kue
odreivati samo drvena munara, koja jasno ukazuje na
odnos sa Svevinjim na vertikalnost kosmikih poruka!
Ispred damije je trijem. Okolno ovalno tijelo je raeno
od vertikalnih drvenih greda, koje skrivaju otvore, dok je
krov od indre. Unutranji prostor nije djelo dizajnera
(time i njegovog diktata), on je doprinos mjetana.
Damija Ostojii
Ostojii Mosque
Arhitekti/Architects: Amir Vuk, Kenan Brkalija Saradnici/Collaborators: Danijela Blaevi, Aldin Jejna Lokacija/Location: Ostojii
Bjelanica Godina/Year: 2006-2007. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Mjetani
sela/village inhabitants Ostojii BGP objekta/GBA: 55 m Fotograf/Photographer: Sandro Lendler
114 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Ethics and aesthetics are one (Wittgenstein)
The architects have transformed a simple hut into a place of
contemplation by the piety of intention. The idea of building
a mosque in the village of Ostojii, which has lain on the
slopes of Mt. Bjelanica for centuries, was the outcome above
all of the good intention (niyyat) of one man from the village.
What gives this project its particular interest from the outset
is the villagers wish to build their own mosque with
financial backing and the professional assistance of an
architect. Recognizing the synergy of the good intentions of
people who are of one mind, the architects exercised great
sensitivity in developing a simple concept suited to the
setting, the principles of the religion and the needs of the
local people.A village mosque, like any mahala
(neighbourhood) mosque, is part of a whole, the vortex of the
village to which everything comes and from which
everything goes. The architects intention was to create a
design that would truly be the villagers own mosque, built
with their own hands and their own energy. They believe
that the latest theories of physics are almost theology;
according to string theory, oscillations determine matter, and
love is a positive vibration. The Ostojii mosque on Mt.
Bjelanica is true evidence of this intention. The ground plan
is oval, evoking the shape of a Muslims hands held in prayer,
which is also a shape that brings together the local people.
A roof of the kind typical of these mountain slopes covers
this space.The idea was to build an ordinary hut, which only
the wooden minaret would denote as a place of worship, for
the vertical of the minaret is a cosmic message forming a link
to the Divine. At the front of the building is a porch. The
oval carcass of the building is clad with wooden posts
concealing the openings, and the roof is clad with shingles.
The interior is not the work of a designer or of the dictates of
interior design, but that of the local residents.
IN BIH 1995-2010 115
ZAJEDNICE COMMUNITIES Kenzo Tange
Crkve i damije Svojim projektom damije na zamiljenoj lokaciji autor
Churches and mosques aktualizira pitanje projektiranja vjerskih objekata u duhu
dananjice. Pritom se oblikovno i sadrajno rukovodi
savremenim i dinaminim arhitektonskim izrazom, koji
svoje uporite pronalazi u tradiciji.
Najvei broj tradicionalnih damija, izgraenih u veim
gradovima Bosne u osmanlijskom razdoblju, sadri
matini potkupolni prostor, trijemove s kupolicama,
ulazom i sofama te munaru kao naglaeni vertikalni
prostor. U manjim mjestima i ruralnim podrujima
damije, umjesto potkupolnim oblicima, zavravaju kosim
etverovodnim krovom. Danas se u Bosni preteno grade
damije tradicionalnog karaktera s neznatnim
kompromisnim promjenama u oblikovanju, izuzev malog
broja asnih izuzetaka. Nacrt damije predstavlja
urbanistiku postavku u osovini pjeakog trga, okruenog
stambeno-poslovnim zgradama i parkom. U prizemlju su
ulazni hol s prateim sadrajima i centralni prostor za
molitvu s galerijom, zenitalno prirodno osvijetljen, to
omoguava maksimalnu koncentraciju tokom molitve. U
suterenu je polivalentna dvorana, oblikovana prema
konturama prizemlja.
Kompozicijski elementi, koncipirani kao tri koljke
razliitih veliina, funkcionalno su graduirani i s munarom
oblikovanom simbolom polumjeseca. Oblikovanje je
interpretirano likovnim govorom i morfolokom
strukturom, artikulirajui, stvaralakim pristupom,
jedinstvenu prostorno-plastinu kompoziciju.
Damija u novom
naselju Bosne
Mosque in a new
settlement in
Bosnia
Arhitekti/Architects: Hamdija Salihovi Saradnici/Collaborators: Edi Kalji Lokacija/Location: nepoznata/unknwon
Tip/Type: ideja/idea
116 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Kenzo Tange
In designing a mosque for an imaginary location, the
architect raises the question of the design of places of
worship in a modern idiom, making use both formally and
meaningfully of a contemporary, dynamic architectural
expression rooted in tradition.
Most traditional mosques built during the Ottoman period in
larger towns in Bosnia had a domed prayer hall, a portico
with smaller domes over, an entrance flanked by raised sofa
platforms, and a minaret forming a vertical accent. In
smaller towns and rural areas, a hipped roof took the place
of the dome. Most mosques being built in Bosnia today are
traditional in nature, with only insignificant compromises of
form, though there are a few honourable exceptions.The
drawings of the mosque show the urban setting in the axis
of a pedestrian square, surrounded by mixed-use buildings
and a park. The ground floor contains an entrance lobby
with ancillary facilities, and a central prayer hall with a
gallery lit by overhead daylight, allowing worshippers to
concentrate fully during prayer. A multi-purpose hall shaped
by the contours of the ground floor occupies the basement.
The compositional elements are conceived as three shells of
various sizes, graded functionally and with a minaret shaped
like a crescent moon. The form is interpreted by means of
the visual vocabulary and morphological structure,
articulating a single spatial and plastic composition by
means of the creative approach.
Tradition sparks off new ideas and, as in the case of the
wheel, can still be usable.
IN BIH 1995-2010 117
ZAJEDNICE COMMUNITIES Na malom brdu u blizini Brkog maloj i tijesnoj crkvici
staroj preko stotinu godina, izvedenoj od lokalnih
Crkve i damije dunera/nadniara, doao je kraj. Bila je potrebna nova,
Churches and mosques suvremena i prostrana crkva, na istoj lokaciji. Na terenu je
bilo mogue graditi novi objekt par godina uz zadravanje
starog, u kojem su se u tom vremenu izgradnje okupljali
vjernici na misnom slavlju. Kroz godinu-dvije sazrelo je
uvjerenje da crkvicu treba popraviti i zadrati kao
memoriju, nasljee i dobrodolu u dane male posjete
vjernika, pogotovo u vrijeme velikog snijega. Izgraena
nova crkva, pored neophodnih prostora prezbiterij sa
sakristijom, klupama za vjernike, krstionicom i galerijom
za kor, ima i prostran ulazni trijem, uobiajen pri izgradnji
damija u okruenju, ime je stvoren prirodno irok prelaz
iz vanjskog svijeta u posveeni ambijent crkve. A trijem
vjernicima slui da se prije ili poslije mise okupe u
druenju bilo da je nesnosna vrelina ili vrijeme kia i
snjenih padavina. Unutranjost crkve, fratarski skromna,
komponirana je parafraziranim betonskim kontraforama i
toplom teksturom opeke kao oblogom zidova. Oblikovni
koncept mog prvog sakralnog objekta bio je raskid s
tradicionalnim u cilju stvaranja novog, suvremenog izraza.
Na postavkama purizma i romanskih asocijacija crkva u
Zoviku je trijemom izvuena u prostor, dok se zvonik, izvan
crkvenog gabarita, geometrijskom konstrukcijom s
triforama i kvadriforama, koje asociraju na romaniku,
doima kao olakani dematerijalizirani sistem konstrukcije
u odnosu na svoje povijesne prethodnike.
upna crkva u
Zoviku
Zovik Parish
Church
Arhitekti/Architects: Ivan traus Saradnici/Collaborators: Berislav Kutni, Ivica Komi Lokacija/Location: Zovik Godina/Year: 1997.
Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: upni ured RKC Zovik/Parish Office RKC Zovik BGP
objekta/GBA: 360 m Fotograf/Photographer: Ivan traus
118 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The small, cramped church, built by local jobbing builders
more than a hundred years ago on a hillock near Brko, had
reached the end of its days, and a new, more spacious church
was needed to replace it. The site allowed for work on the
new church to proceed for a few years without demolishing
the old, where the congregation was still able to attend
mass. Over the first year or two the conviction matured that
the old church should be repaired and preserved as a
memorial and as heritage, welcome on days when few people
come to church, particularly when the snow is deep.The new
church has not only the essentials a presbytery and
sacristy, pews, a font and a choir gallery but also a large
porch of the kind usually associated with mosques in this
part of the world, thus creating a natural transition from the
outside world to the solemn atmosphere of the church. The
porch also provides somewhere for the congregation to
gather before or after mass as they shelter from searing heat,
rain or snow.The interior of the church, monastic in its
simplicity, is composed of a paraphrase of flying buttresses in
concrete and the warm texture of the brick-faced walls.The
formal concept of this, the architects first religious building,
was to break with the traditional in order to create a new,
contemporary expression. Drawing on purism and with a
nod to the Romanesque, the church in Zovik is drawn out in
space by the porch, while the bell tower, freestanding next to
the church, is reminiscent of the Romanesque in its
geometric construction with triforate and quadriforate
windows, giving the impression of a lighter, dematerialized
structural system by comparison with its predecessors.
IN BIH 1995-2010 119
ZAJEDNICE COMMUNITIES Oltar je projektiran za odravanje sveanog misnog
slavlja na stadionu Koevo u Sarajevu povodom posjete
Crkve i damije pape Ivana Pavla II 1997. godine.
Churches and mosques
Nesvakidanji ambijent olimpijskog stadiona autor koristi
kao predtekst unutar kojeg periferno postavljen oltar,
sastavljen iz uzdignutog podija oltara i istaknut ispred
snanog horizontalnog pozadinskog zida s centralnom
nadstrenicom s kriem, postaje sastavni dio ambijenta
savremenog amfiteatra. Ingeniozna materijalizacija oltara,
izvedena od elinih tapova standardne graevinske
skele prekrivene ceradom u papinskoj utoj boji,
aliteracijom punih i praznih ploha kao metaforom grba
hrvatskog naroda, u skladu je s postratnim vremenom u
koje je ovaj dogaaj smjeten. Izraajnu cjelovitost mise
en scne upotpunjavaju horizontalni nizovi girlandi, kao
simboliki i likovni element prisutan u autorovim skicama
od samog poetka razvoja ideje. Putem njih se travnata
povrina sportskog terena povezuje sa, poput jedara,
razapetom lebdeom strukturom nadstrenice. Idejni
motivi su poetski autorov hommage djetinjstvu vezanom
uz Jadransko more i grad Trstenik.
Oltar za doek
pape Ivana Pavla
II
Altar for Pope
John Paul II
Arhitekti/Architects: Nikola Maslej Lokacija/Location: Sarajevo Godina/Year: 1997. Tip/Type: ugovor/commission
Investicija/Investment: privatna/private
120 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The altar was designed for the solemn celebration of Mass
held at the Koevo stadium in Sarajevo on the occasion of
the visit of Pope John Paul I in 1997.
This unusual setting of an Olympic stadium was used by the
architect as a pretext within which the altar was placed
peripherally on a raised podium set in front of a
monumental horizontal background wall with a central
canopy adorned with a cross, which became an integral part
of the concept of a contemporary amphitheatre. The
ingenious materialization of the altar consisted of
standardized steel scaffolding bars covered with tarpaulin in
Papal yellow in alternating solid and recessed surfaces, as a
metaphor of the Croatian peoples coat-of-arms. Everything
was in accordance with the post-war period in which this
event occurred. The expressive mise-en-scne was completed
with horizontal rows of garlands, as a symbolic and visual
element presented in the architects sketches from the very
start of the development of the concept. They serve to
connect the grassed football pitch with the sails of the
projecting, hovering structure of the altar itself, as a poetic
homage to the architects own place of birth and childhood,
the Adriatic coast and the city of Trstenik.
IN BIH 1995-2010 121
ZAJEDNICE COMMUNITIES Kapelica bolnice u Novoj Biloj nastoji biti mjestom na
kojem e pacijenti traiti i barem privremeno nai vlastiti
Crkve i damije mir.
Churches and mosques
Kratkom etnjom odmaknuta od zgrade bolnice, izdvojeni
je teritorij na kojem svakodnevna stvarnost eli biti malo
manje stvarnom. Prostor vrta okruuje grubi kameni zid,
osiguravajui mu prividni mir utoita. U vrtu se uju
koraci po ljunku i razgovor ljudi koji za vrijeme boravka u
bolnici sade ili odravaju cvijee i drugo zelenilo. Unutar
same kapelice dva poprena zida osiguravaju minimum
koncentriranosti na molitvu, a ujedno nose i drvenu kutiju
krova. Stakleni otvori fasade jednostavnim sustavom
utega podiu se i skrivaju u krovnu konstrukciju. Tada
prostor koncentracije i molitve postane itav prostor
unutar spiralnog zida. Odabrani oblik kapelice tipina je
lokalna dvostrenica te je umirujui element
prepoznatljivosti.
Kapelica bolnice
u Novoj Biloj
Hospital Chapel
in Nova Bila
Arhitekti/Architects: Bojan Radoni, Goran Rako Lokacija/Location: Nova Bila, Vitez Godina/Year: 1997. Tip/Type: ugovor/commission
Investicija/Investment: javna/public Klijent/Client: Vlada Republike Hrvatske/Government of the Republic of Croatia BGP objekta/GBA:
80 m 3D rendering: Josip Saboli
122 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The Hospital Chapel in Nova Bila is designed to be a place
for patients to seek and find peace, even if only for a
moment.
A short walk from the hospital itself, it is a separate space
where mundane reality aspires to be somewhat less real.
The garden is surrounded by a rubblestone wall, giving it a
sense of peace and sanctuary. One can hear footsteps on the
gravel, and the voices of the people who tend the garden and
plant flowers and shrubs during their stay in the
hospital.Within the chapel itself, two cross walls provide the
minimum of focus needed for prayer, while also supporting
the wooden frame of the roof. The glass openings of the
faade can be raised by a simple counterweight system and
concealed within the roof. The entire space then becomes a
place of focus and prayer within the spiral wall that encloses
it.The shape of the chapel, with its gabled roof typical of the
area, provides a reassuring element of familiarity.
IN BIH 1995-2010 123
ZAJEDNICE COMMUNITIES
Crkve i damije saobraajnica. Ideja za izgradnju potekla je od nekolicine
Churches and mosques
Katolika kapela nalazi se nedaleko od mjesta eravac u
Posavini, u blizini starog groblja, do kojeg vodi lokalna
bosanskih franjevaca iz upnog ureda eravac, 2007.
godine.
Teren je ravan i bogat niskim i visokim raslinjem, to je
odredilo arhitekturu suivota s prirodom i utjecalo na
formiranje arhitektonskog koncepta koji ine: valjak
kapela sa zvonikom, prizma pomoni prostori, te
kolonada, koja formira otvoreni prostor za bogosluenje
sub divo, ujedno osnovni oblikovni element kompozicije.
Spomenuti sadraji ujedinjeni su u gotovo iskonske forme,
kojima primarni cilj nije bio skrenuti panju na sebe, nego
utopljenim u okruje naglasiti svetost i mirnou prostora.
Bijele povrine zidova kapele i kolonade oplemenjene su
vegetacijom i na taj nain pomiruju artificijelnu
intervenciju s pitomim, prirodnim okrujem. S istim ciljem
spajanja artificijelnog i prirodnog, na bijelim formama
simbolino se javljaju pojedini detalji izraeni od drveta.
Svjetlo i sjene ovdje imaju prvorazrednu ulogu u
evociranju transcendentalnog ambijenta, te je prostor koji
tvori primarna, jednostavna forma kapele, oplemenjen
radijalno postavljenom prirodnom rasvjetom. Ideja koja je
dala bitan ig cjelokupnom arhitektonskom rjeenju bila
je da danas sakralni prostori nisu samo mjesta molitve i
ceremonije, nego, gotovo podjednako, i mjesta duhovnog
uzdizanja u svom najirem smislu.
The new Catholic chapel is near the small town of eravac in
Posavina, close to the old graveyard, with a local road
leading to it. The idea to build it came from a number of
Bosnian Franciscans from the parish of eravac.
The site is level and full of trees and greenery. This called for
an architectural design in harmony with nature, and
influenced the composition, consisting of a cylinder the
chapel with its bell tower; a prism the utility rooms; and a
colonnade forming an open-air, sub divo space for prayer,
which is the basic formal element of the composition.These
pure, almost primordial forms are designed to be
unobtrusive, to merge into their surroundings so as to
emphasize the sanctity and serenity of the space.The white
walls of the chapel and the colonnade are planted up to
blend the architecture with the gentle natural surroundings.
For the same reason, wood features symbolically on the
white walls, wood being the typical natural building material
in this area. The interplay of light and shadow creates a
transcendental atmosphere, and the space formed by the
simple chapel is enhanced by the radial openings providing
natural lighting.
The whole design is stamped with the idea that nowadays,
religious sites are not simply places of prayer and ceremony,
but also of spiritual uplift in the wider sense.

Katolika kapela
u eravcu
Catholic Chapel
in eravac

Arhitekti/Architects: Nina Ugljen-Ademovi Lokacija/Location: eravac Godina/Year: 2007-2008. Tip/Type: ugovor/commission

Investicija/Investment: privatna/private Klijent/Client: upni ured eravac/Parish Office eravac BGP objekta/GBA: 658 m
Fotograf/Photographer: Nina Ugljen-Ademovi

124 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 125

ZAJEDNICE COMMUNITIES Koncept je savremena interpretacija baroknog ideala
crkvene graevine uz dnevnu svjetlost kao glavni motiv
Crkve i damije enterijerskog rjeenja.
Churches and mosques
Centralni prostor lae, ovalnog oblika, prati galerija s
dodatnim prostorom za vjernike, koja je konzolno
izmaknuta iz donje lune fasade te preuzima formu
osmerokuta. Ta forma tlocrta odreuje i oblik krova, koji je
od fasada crkve odvojen staklenim prstenom. Sjedita
unutar lae usmjerena su prema prezbiteriju, iznad kojeg
se penje staklena lanterna poduprta velikim betonskim
kriem. Uz obilazak crkvene lae rasporeene su pobone
kapelice, koje pored prezbiterija dopunjuje dnevna kapela.
Specifina filtrirana dnevna svjetlost koja ulazi kroz
staklenu lanternu te stakleni prsten izmeu zidova lae i
krova unosi ritam dana i sezona. U materijalizaciji
zamiljen je komplementarni spoj hladne monohromatike
bijelih zidova i plafona te tople nijanse prirodnog drveta
podova, klupa i opreme prezbiterija. Glavna, zapadna
fasada, razapeta izmeu dva zvonika, luno je oblikovana
te kao zagrljaj poziva vjernike na posjetu crkve. Zvonici su
arhitekturna apstrakcija klasinih zvonika, na nebu
iscrtane i u betonu izlivene konture koje na vrhu
zavravaju prostor za zvona te finalni motiv visoko
podignutih krieva.
The design is a contemporary interpretation of the Baroque
church ideal with daylight as the main motif of the interior.
The nave, which is oval in plan and is surrounded by side
chapels, echoes the gallery, which is cantilevered out from
the arched wall to form an octagon defining the form of the
roof, and which also provides additional space for the
congregation. A strip of glass separates the roof from the
walls of the church.The pews in the nave face the presbytery,
over which rises a glazed lantern supported by a large
concrete cross. The filtered daylight that enters through the
glazed lantern and the glass ring between the walls and the
roof brings the rhythm of the days and the seasons into the
interior, where the plain white walls and ceiling and the
warm tones of the natural wood flooring, pews and
presbytery furniture complement each other.The main faade
at the west end, stretching between the twin bell towers, is
arched, inviting the congregation into the embrace of the
church. The towers, an architectural abstraction of the
classical bell tower, are outlines in concrete against the sky,
and are surmounted by belfries and tall crosses.
Outside is a large square between the west end of the church
and the main road, and a park surrounding the new church.

U vanjskom ureenju postepeno se oformljuje veliki trg

izmeu glavne fasade crkve i glavne gradske
saobraajnice te park koji sa svih strana okruuje novu
crkvu.

Nova crkva
Roenja Blaene
Djevice Marije
New Church of
the Nativity of
the Blessed
Virgin Mary

Arhitekti/Architects: Marko Mui Saradnici/Collaborators: Atelje Marko Mui, Ljubljana Slovenija/Archive-Mark Studio Mui, Ljubljana
Slovenia Lokacija/Location: Kotor-Varo Godina/Year: 1998-2010. Tip/Type: natjeaj/competition Investicija/Investment:
privatna/private Klijent/Client: upni ured Roenja BDM, Kotor-Varo/Parish of the Nativity of the Blessed Virgin Mary, Kotor Varos
BGP objekta/GBA: 2.900 m Fotograf/Photographer: Arhiv-Atelje Marko Mui, Ljubljana Slovenija/Archives-Mark Studio Mui,
Ljubljana Slovenia

126 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 127

ZAJEDNICE COMMUNITIES Nova crkva je na mjestu u ratu sasvim poruene velike
crkve, te sa starom crkvicom sv. Ive formira irok
Crkve i damije monumentalni portal ovog najpoznatijeg bosanskog
Churches and mosques katolikog svetita.
U elji da se prostor svetita nikako ne dira, te da se
zauvijek sauva njegova legendarna ljepota, crkva je u
cjelini ugraena u strmu padinu brda. Nova graevina
obuhvaa kriptu s glavnim arhitekturnim motivom
stupova u obliku betonskog drvea koji simboliziraju
etvoricu evanelista. Crkvu prostorno definira glavna
fasada, kroz koju se otvaraju pogledi na dolinu svetita i
staru crkvicu. Krov oblikovan od isprepletenih betonskih
nosaa, poput dviju ruka, metaforika je iluzija visoko
podignutog neba iznad glava vjernika. Pa je tako i uzduni
prezbiterij natkriven staklenom ljuskom. U okviru gabarita
crkve je i dnevna kapela s krievima koji su usjeeni u
fasadu i plafon te koji unose mistinu svjetlost i
religioznu atmosferu. upni dvor, na boku crkve,
koncipiran je kao postament zvonika iznad kojeg se
pojavljuje spiralni motiv sa trideset tri lamele, koje
simboliziraju godine Kristovog ivota. Visoko podignuti
kri na zvoniku dopunjuje veliki kri usjeen u zapadnu
fasadu upnog dvora, koji poziva putnike i hodoasnike iz
pravca Banje Luke, dok za one koji dolaze iz pravca Jajca
ostaje, prema tradiciji, prvi susret sa svetitem sv. Ive.
Nova crkva u
svetitu sv. Ive
Krstitelja
New church and
Rectory, Shrine of
St. John the
Baptist
Arhitekti/Architects: Marko Mui Saradnici/Collaborators: Atelje Marko Mui, Ljubljana Slovenija Lokacija/Location: Podmilaje
Godina/Year: 2003-2010. Tip/Type: natjeaj/competition Investicija/Investment: privatna/private Klijent/Client: upni ured Sv. Ivan
Krstitelj Podmilaje/Parish Office St. John the Baptist Podmilaje BGP objekta/GBA: 2.858 m Fotograf/Photographer: Atelje Marko
Mui
128 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The new church replaces the large church that was destroyed
during the war. Together with the old church of St. John it
forms the monumental portal of this famous Bosnian
shrine.
To ensure that the shrine remains intact, and that its
legendary beauty is preserved for all time, the church is set
back into the steep hillside. The new building consists of a
crypt with four pillars in the form of concrete trees
symbolizing the four Evangelists, and the church, defined by
the main faade facing the valley and the old church. The
roof, composed of a network of concrete girders resembling a
pair of hands, metaphorically creates an illusion of the sky
high above the congregation, as does the longitudinal
presbytery with its glazed shell roof. The day chapel in the
church has crosses cut into the walls and a ceiling that
introduces mystical daylight and a religious atmosphere.
The rectory flanking the church was conceived as the plinth
of the bell tower, which is surmounted by a spiral motif of
thirty-three fins, symbolizing the years of Christs life, and a
high cross, complementing the great cross carved into the
west front of the rectory, welcoming travellers and pilgrims
coming from Banja Luka, while for those arriving from the
direction of Jajce, the first encounter is the traditional one of
the shrine of St John.
IN BIH 1995-2010 129
ZAJEDNICE COMMUNITIES
Crkve i damije
Churches and mosques
Jubilarni kri i kapela Uskrsnua, Grabe iznad Podmilaja,
BiH
Posveenost tradiciji i nastojanje da se ouva izniman
pejza predstavljaju okosnicu ove sakralne teme. Vrh brda
Grabe visoko iznad svetita sv. Ive u Podmilaju kroz
povijest predstavlja tradicionalni zavretak Puta kria, koji
poinje u samom svetitu.
Stoga je ureenje kapele, oltara i kria, to je projektirano
u ast drugog tisuljea Kristovog roenja, namijenjeno
misama i hodoasnicima, kao i brojnim posjetiocima tog
legendarnog mjesta. U elji da se u potpunosti sauva
legendarni i arkadijski pejza ovoga svetog mjesta, kapela
je u cjelini ugraena u strmu padinu brda. Krov kapele
odreuju betonski nosai, meu kojima je ljuska krova
prekrivena zemljom i zelenilom. Unutranjost kapele je
amorfni, slobodno formirani prostor, s kaskadno smicanim
lunim zidovima i plafonom, koji su izvedeni u vidljivom
betonu. U visoki prostor, u kojem je i manja galerija, ulazi
dnevna svjetlost kroz stakleno oko na vrhu krova. Iznad
kapele die se oltarni stol s kriem. Plato oltara je
istovremeno vidikovac. Kri na briljivo odabranoj i dobro
vidljivoj poziciji iznad dramatinog motiva peina
usmjeren je prema pogledu putnika te svojim zvonima
pozdravlja hodoasnike koji dolaze prema svetitu sv. Ive
u Podmilaju.
The Jubilee Cross and Chapel of the Resurrection, Grabe
above Podmilaje, BIH
Loyalty to tradition and the determination to preserve this
outstanding landscape form the mainstay of this religious
theme. Throughout history the summit of Grabe hill, high
above the Shrine of St.
John the Baptist in Podmilaje, has been the traditional end
to the Stations of the Cross that begin in the valley of the
shrine. The chapel, altar and cross, designed to mark the end
of the second millennium since the birth of Christ, are
intended for holding mass as well as for the many pilgrims
and visitors to this legendary site.With a view to preserving
the Arcadian landscape of this holy site, the chapel was set
into the steep hillside. The roof of the chapel is defined by
concrete girders and a shell roof covered with earth and
greenery. The interior of the chapel is an amorphous, free-
form space with cascaded walls and roof in exposed concrete.
Daylight enters the high-ceilinged space, which includes a
small gallery, through a glazed oculus at the top of the
roof.The altar table and cross rise above the chapel, with the
altar space also serving as a belvedere. The cross, the
position of which was carefully selected to be seen above the
dramatic cave motif, faces pilgrims to the Shrine of St John in
Podmilaje as they arrive, welcoming them with its bells.

Jubilarni kri i
kapela Uskrsnua
Jubilee Cross and
Chapel of the
Resurrection

Arhitekti/Architects: Marko Mui Saradnici/Collaborators: Atelje Marko Mui, Ljubljana Lokacija/Location: Podmilaje Godina/Year:
2000. Tip/Type: natjeaj/competition Investicija/Investment: privatna/private Klijent/Client: upni ured Sv. Ivan Krstitelj
Podmilaje/Parish Office St. John the Baptist Podmilaje BGP objekta/GBA: 288 m Fotograf/Photographer: Atelje Marko Mui

130 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 131

ZAJEDNICE COMMUNITIES Projekt crkve Sveta obitelj klasinu tipologiju sakralnog
prostora zasnovanu na inskripciji latinskog kria
Crkve i damije transponira u savremeni koncept prostornog
Churches and mosques sekvenciranja pozadinskog svjetla. Na taj nain kretanje
vjernika unutar crkve pretvara se u katarzino iskustvo
gradacije prostora i intenziteta svjetla prema oltaru, kao
metafori puta iz ovozemaljske tame prema boanskom
svjetlu nebeskom. Gradacija prostornih sekvenci interijera
crkve u horizontalnom smislu prenesena je i u vertikalni
plan. Vertikalno ralanjivanje crkvenog broda na nivou
tla i nivoa suterena, na kojem se nalaze biblioteka, upni
ured i pratei prostori, proistjee kako iz funkcionalnih
tako i iz klimatskih karakteristika mediteranske klime
hercegovakog kra. Tako svjetovni sadraji svoje mjesto
nalaze u prostorima zaklonjenim od sunca i svakodnevne
vreve, dok je sama crkva i simboliki i sutinski njegova
nadgradnja. Arhitektonskom gestom svjetovno i sakralno
bivaju komponirani u meusobni odnos koji im sutinski i
pripada.
Crkva Sveta
obitelj
Church of the
Holy Family
Arhitekti/Architects: Nikola Maslej Lokacija/Location: iroki Brijeg Godina/Year: 2002. Tip/Type: ideja/idea
132 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The design for the Church of the Holy Family transposes the
sacred space of classical typology based on an inscribed
Latin cross into a contemporary concept in which the spatial
progression of background light transforms ones movement
in the church into a cathartic experience of a gradual
progression of space and light intensity towards the altar, as
a metaphor of our journey from the darkness of this life to
the divine light of heaven. This horizontal spatial
progression inside the church is also transferred to the
vertical plan. The vertical articulation of the building, with
the church itself at ground level and the library, parish office
and other appurtenances in the basement, is both
functionally and climatically suited to the Mediterranean
climate of Herzegovinas karst landscape: the secular
facilities are sheltered from the sun and away from the
hustle and bustle of daily life, while the church both
symbolically and essentially forms the superstructure to
these premises. This architectural solution thus places the
secular and the sacred in essentially natural relationship.
IN BIH 1995-2010 133
 B
Zajednice Communities

Bolnice i kole
Hospitals and schools

36. Ante Kuzmani, Danijel Marasovi, Bojan

Radoni, Goran Rako: Bolnica u Novoj Biloj
/ Hospital in Nova Bila, 1997. 46

37. Sanja Gali-Grozdani, Igor Grozdani:

EUFOR-NATO, Urgentni medicinski centar /
EUFOR emergency Medical Centre, Rajlovac,
2004. 47

38. Davorin Smoljan, Marijan Antunovi:

Znanstvena knjiara Ziral / Ziral Science
Library, Mostar, 1998. 48

39. Malina voro, Ivan ivanovi: Enterijer

Doma mladih / Youth Centre interior, Banja
Luka 49

40. Diana Stupar, Slobodan Stupar: Vrti

"Kolibri" dogradnja dvaju novih krila i
rekonstrukcija postojeeg dijela / Kolibri
Kindergarten, Banja Luka, 2010. 50

41. Isra Tatli, Damir Tatli: Osnovna kola ip /

ip Primary School, Sarajevo, 2009.
51

42. Sanja Gali-Grozdani, Igor Grozdani:

Osnovna kola ip / ip Primary School,
Sarajevo, 2009. 52

43. Adnan Pai: Osnovna kola ip / ip

Primary School, Sarajevo, 2009. 53

134 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 135

ZAJEDNICE COMMUNITIES Osnovni zadatak projekta bolnice u Novoj Biloj bilo je The main design challenge of the Hospital in Nova Bila was
smjetanje ove prilino velike graevine u gotovo idilini to how place this sizeable building into an idyllic landscape
Bolnice i kole pejza, u kojem nije bilo elemenata slinog mjerila. Stoga with no other features on that scale. The building is
Hospitals and schools je kua u tlocrtu i presjeku strukturalno ralanjena. therefore articulated structurally in both plan and section.

Prizemni dio maksimalno uvaava topografiju, pratei
ujedno u blagom luku i put sunca. Na ovom kamenom
postamentu radijalno su poslagani paviljoni/prsti. Dvije
dulje fasade ovih tipino bolnikih funkcionalnih
elemenata orijentirane su na atrije. Na junoj strani
paviljona izlaz je na terasu odnosno etnicu. U prizemlje,
u kojem su uglavnom ambulante, ulazi se sa sjeverne
prometnice, odnosno s parkiralita. Zatim kroz hol, u
kojem se informiraju, pacijenti odlaze u junu unutranju
ulicu, du koje su ekaonice za pojedine cjeline. Sjeverna
unutranja ulica je interna. Na katu su uglavnom sobe za
bolesnike i terasa etnica kojom se moe spustiti i na
teren. Materijali koriteni za oblaganje fasade su drvo,
opeka, lomljeni kamen. Tako se jo jednom zgrada to vie
povezuje s krajolikom, a to manje s bolnikom funkcijom.
The ground floor of the hospital respects the topography
while also following the path of the sun in a gentle curve.
Radial pavilions rest on this stone base, with the longer
sides of these typical hospital functional elements facing
onto atriums, and doorways leading out to a terrace on the
south side.Entry to the ground floor, which mainly consists of
clinics, is from the road and the car park to the north of the
hospital. From the hall, where the information desk is
located, patients enter the south corridor, lined with waiting
rooms for the various units. The north corridor is for staff
only. The first floor consists mainly of hospital wards and a
terrace or walkway leading down to ground level.Wood, brick
and rubble stone were used for the faades, to ensure that
they blend into the landscape rather than evoking the
hospital function.

Postoji i projekt za druga fazu bolnice, kojim bi bila The design for the second stage, which includes another
dograena jo tri paviljona/ prsta, te zapadni spoj s three pavilions and an open-air theatre to the west, has yet
terenom u kojem bi bio otvoreni amfiteatar. to be executed.

Bolnica u Novoj
Biloj
Hospital in Nova
Bila

Arhitekti/Architects: Ante Kuzmani, Danijel Marasovi, Bojan Radoni, Goran Rako Saradnici/Collaborators: Biserka Gorski, Stipe Medi,
Mladen Pandur Lokacija/Location: Nova Bila, Vitez Godina/Year: 1994-1997. Tip/Type: ugovor/commission Investicija/Investment:
javna/public Klijent/Client: Vlada Republike Hrvatske/Croatian Government BGP objekta/GBA: 9.000 m2 Fotograf/Photographer:
Damir Fabijani, Ante Kuzmani, Danijel Marasovi, Bojan Radoni, Goran Rako

136 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 137

ZAJEDNICE COMMUNITIES Urgentni vojno-medicinski centar formiran je od etiri
kompaktno postavljena paviljona, koji su zatieni
Bolnice i kole arhitektonskim oklopom s elementima kamuflae.
Hospitals and schools
Kasarna Rajlovac, gdje se objekt nalazi, nastala je u
austrougarskom periodu, krajem 19. stoljea, i predstavlja
klasian primjer paviljonskog tipa izgradnje. U
funkcionalnom smislu objekt je definiran urgentnim
medicinskim sadrajima, ukljuujui urgentni prijem sa
ok-salama, operativni trakt, intenzivnu njegu, rendgenski
i laboratorijski blok, ambulantu i stacionar te pratee
sadraje. Uvaavajui urbani kontekst, navedeni sadraji
su prostorno definirani u obliku etiriju funkcionalnih
paviljona koji formiraju urgentno-operativni trakt,
laboratorijsko-rendgenski blok, ambulantu te stacionar. U
skladu sa specifinom funkcijom, koja zahtijeva kratke,
jednostavne i brze komunikacije izmeu pojedinih
funkcionalnih cjelina, objekt je koncipiran kao struktura
kompaktno lociranih prizemnih paviljona, meusobno
povezanih primarnim longitudinalnim i transverzalnim
komunikacijama. U oblikovnom smislu svaki paviljon je
dodatno definiran posebnom i specifinom pastelnom
bojom, koja simbolizira funkciju svakog paviljona.
Oklopna bolnica -
EUFOR
The Armour-
plated Hospital -
EUFOR
Arhitekti/Architects: Studio non stop, Sanja Gali-Grozdani, Igor Grozdani Saradnici/Collaborators: Edin Avdibegovi, Hasnija Kazi
Godina/Year: 2002-2004. Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: Ministarstvo odbrane +
GTZ Njemaka/Ministry of Defence + GTZ Germany BGP objekta/GBA: 3.600 m2 Fotograf/Photographer: Studio non stop
138 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The emergency military medical centre consists of four close-
set pavilions protected by architectural armour-plating with
a camouflage finish.
It is located in the Rajlovac military barracks in Sarajevo,
which date from the Austro-Hungarian period (late 19th
century), and are a typical example of a pavilion-type
structure.
Functionally, the building is defined by its emergency
medical facilities, including emergency admission and
resuscitation bays, operating theatres, intensive care, an X-
ray and laboratory block, clinic and infirmary, and ancillary
facilities. With due regard to its urban setting, these facilities
are grouped into four pavilions: the emergency and theatre
block, the X-ray and laboratory block, a clinic and an
infirmary.The need for ease and rapidity of movement
between the various departments was met by a design of
close-packed single-storey pavilions linked by main
longitudinal and transverse corridors.Each pavilion is
decorated in a different pastel shade symbolizing its
particular function.
IN BIH 1995-2010 139
ZAJEDNICE COMMUNITIES
Bolnice i kole
Hospitals and schools
Osnovni koncept temelji se na ideji da se kreira neobian
zanimljiv objekt koji e svojom formom privlaiti ljude.
Dvoetani objekt lociran je na ulazu u Sveuilini kampus,
koji jednim zabatnim zidom granii s postojeim
susjednim objektom. Volumen objekta definiran je u vidu
zakrivljenog plata kontinuiranog zida koji se
horizontalno savija i izvija. Na ovako kreiranoj zaobljenoj
fasadi postavljen je veliki broj malih prozora. Oni
istovremeno stvaraju igru, tako da objekt iz svakog kuta
izgleda drugaije, i unose dovoljno svjetlosti unutar
enterijera. Unutranjost je rijeena kao jedinstven prostor
bez pregrada, osim zida koji odvaja sanitarije od matinog
prostora. Vertikalnom povezanou prizemlja i galerije
postignuto je da objekt, koji je relativno malih gabarita,
iznutra djeluje prostrano. Prizemlje i galerija povezani su
zavojitim stubama, a prostor na galeriji je nastavak igre
zavojitim formama, koje u kombinaciji s kosinom krova
ine itav prostor jo razigranijim.
The design concept was based on the idea of creating a
building that was unusual and interesting enough to attract
people. The three-storey building stands at the entrance to
the university campus, with one gable wall against an
existing building. It consists of a continuous outer wall
curving in and out. Light enters the building through its
many small windows, which interact with the curving faade
so that it looks different from every angle while letting
sufficient light into the building.
The interior is open-plan, with no partition walls other than
the one separating the toilet block from the main area,
forming an arc. By linking the ground floor and the gallery, a
sense of spaciousness has been achieved in this relatively
small building. The spiral staircase leading to the gallery is
echoed by the interplay of curving forms of the gallery itself
which, combined with the pitch of the roof, further enhance
the impression of exuberance.

Znanstvena
knjiara Ziral
Ziral Science
book-shop

Arhitekti/Architects: Marijan Antunovi, Davorin Smoljan Saradnici/Collaborators: Danica Mandi Lokacija/Location: Mostar
Godina/Year: 1998. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Fram Ziral d.o.o. Mostar
BGP objekta/GBA: 264 m2 Fotograf/Photographer: Damir Anii

140 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 141

ZAJEDNICE COMMUNITIES
Bolnice i kole prostor Doma mladih otkriva se korisniku cielom visinom
Hospitals and schools
Autori grade dizajn enterijera Doma mladih na principu
dualizma enterier i eksterier se prepliu. Unutranji
svoga prozranog plata. Ambient gradskog prostora
ulice, autori uvlae u unutranjost obekta, s ciljem da
paletu sadraja Doma mladih uine dostupniom
posetiocima. etnja kroz niz netipino povezanih
prostoria poziva na otkrivanje razliitih ambientalnih i
funkcionalnih celina. Ulazna partia, dva visinski
odvoena ali vizuelno povezana nivoa izlobenog
prostora, kao i novonastala platforma, dio su ednog
oblikovnog koncepta, a povezuui element celine e
razigrana struktura sputenog plafona, ii e dizan
inspiriran motivom alee. Kao to prirodni pokrov od lia
filtrira sunevu svetlost, ovde lebdee perforirane ploe
reflektuu i ire umetno osvetljenje, stvaraui ugodan
prostor za posetioca. Ovaj vienamjenski prostor,
promjenjivim postavkama elemenata opreme i enterijera,
podrava razliita deavanja: izlobe, koncerte, kreativne
radionice, seminare... Zasebnu funkcionalnu zonu ini
kafe izdvoen na platformi, odakle se korisnicima, kao s
terase s pogledom, pruau vizure ka svim deavanjima u
foaeu doma. S namerom da ostvare stalnu asociativnu i
realnu vezu unutranjeg i vanjskog prostora, autori su
celokupan ambient kafea oblikovali tako da svoim
izrazom, opremom, materialima i teksturom podsea na
gradsku kafanu. Direktna veza unutranjeg prostora s
vanjskim, gradskim prostorom, ostvarue se preko
novoformirane platforme. Ona e nastavak dinamine igre
razliitih nivoa, koa se nastavlja iz enteriera u eksterier.
The design of the Youth Centre is based on the principle of
dualism, with interior and exterior, indoors and outdoors,
interpenetrating. The interior opens up before one, revealing
the full height of its transparent shell. The design brings the
outdoors the urban street setting into the building so as
to make the range of activities on offer at the Youth Centre
more accessible to its visitors. A stroll through the premises,
which are interconnected in an unusual way, invites one to
discover its heterogeneous ambient and functional spaces.
The foyer, with a split-level but visually interconnected
exhibition space, and the newly-designed platform, are part
of a single formal concept, with the exuberant dropped
ceiling, designed to evoke an avenue, as the unifying feature.
Just as sunlight filters through the leaves of the trees, so
here hovering perforated sheets both reflect and diffuse the
artificial lighting, creating a pleasant atmosphere. This
multi-purpose space has been designed so that it can be
adapted to a variety of events: exhibitions, concerts,
workshops, seminars and so on. The caf, set on its own
platform, forms a separate entity from which, as if from a
terrace with a view, visitors can see everything that is going
on in the foyer. In order to create a continuous associative
and actual physical connection between indoors and
outdoors, the caf was designed to resemble a city caf in
appearance, furnishings, materials and texture. The newly-
designed platform leads straight out into the town,
continuing the dynamic interplay of different levels indoors
and out.

Enterijer Doma
mladih
Youth Centre
interior

Arhitekti/Architects: Malina voro, Ivan ivanovi /Arhitektonsko graevinski fakultet Univerziteta u Banjoj Luci/Architectural and Civil
Engineering University of Banja Luka Saradnici/Collaborators: Saa B. voro, Igor Kova, Una Umievi, Stanko Dupor Lokacija/Location:
Dom solidarnosti, Banja Luka Godina/Year: 2009. Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client:
Grad Banja Luka/City of Banja Luka BGP objekta/GBA: 1.400 m2

142 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 143

ZAJEDNICE COMMUNITIES
Bolnice i kole
Hospitals and schools
Predstavljeni projekat dogradnja dvaju novih krila i
rekonstrukcija postojeeg dijela,
kritika je reakcija na centralizaciju funkcija postojeih
vrtia graenih u vrijeme socijalizma. Funkcionalni
koncept novog vrtia zasnovan je na decentralizaciji svih
prostora za boravak djece, dok zajednike servisne
funkcije opsluuju projektovani kompleks.
Kompozicija vrtia je zamiljena kao zbir 12 osnovnih
jedinica soba ili kua, u koje moe da se smjesti do 250-
ero djece. Svaka ova kua pojedinano se sastoji od
prostora za igru, prostora za spavanje, garderobe i
sanitarnog vora. Postoje dva tipa kua: prizemne za
mlai uzrast, i kue sa galerijom za spavanje za stariji
uzrast. Dvije jedinice su grupisane oko zasebnog ulaza,
garderobe i prostora za objedovanje. Na taj nain
funkcioniu kao velika porodica u okviru koje se djeca
mogu nesmetano kretati i po slobodnom izboru koristiti
sve pripadajue zone za specifine aktivnosti. Primarna
forma predloenog objekta je poluatrijumska L-zgrada,
dok je u sekundarnom poimanju postignuta igra
zakrivljenim poloajima prizmatinih tipinih jedinica. U
ovom sluaju nije koriteno mnotvo oblika, sve je u
principu kubino, ali je meusobna korelacija kontrasnih
elemenata pravo-krivo, malo-veliko, puno-prazno ono to
ini ovu kuu specifinom. Neophodno je izbjei svaku
vrstu strogosti i odbojnosti, to se ita kako kroz primarnu
tako i kroz sekundarnu plastiku same forme. Raznolikost u
varijacijama materijala potkrijepljena je potrebom djeteta
da osjeti osnovne odlike pojedinih obloga toplo-hladno,
glatko-hrapavo. Kua korespondira sa predstavama
djeteta i kroz boju, koju ova arhitektura obilato koristi u
cilju identifikacije korisnika sa pojedinim segmentima
kue.
The design of addition of two new wings and reconstruction
of the existing building
is a critical response to the design of kindergartens as
centralized areas for a large number of children (often
300-400) typical of the socialist period.
The functional concept of the new kindergarten is based on
decentralized group activities combined with shared service
facilities.The kindergarten consists of twelve modules (rooms
or houses) for up to 250 children, each module consisting of
a playroom, rest area, cloakroom and toilet block. There are
two kinds of module, single-storey for the youngest children
and split-level, with a rest area on the gallery, for the older
children. The two units have a shared entrance with a
cloakroom and canteen, thus functioning like a large family
house where children can move freely between the two,
choosing which space to use for group activities.
The primary layout of the new building is L-shaped, in which
the interplay of offset elements forms the secondary concept.
All the shapes are based on the cube, while variety is
achieved by contrasting straight and off-true, large and
small, solid and void as the specific feature of this
building.Every effort has been made to avoid features that
might seem severe or off-putting. A wide range of materials
has been used in response to childrens need to experience
everything through touch cold, smooth, rough. The design
also takes into account childrens response to colour, using
colour to help them identify with their own

Vrti Kolibri
The Kolibri
Kindergarten

Arhitekti/Architects: UNA ininjering Diana Stupar, Slobodan Stupar Saradnici/Collaborators: Sanja Bokan, Dragan Raili
Lokacija/Location: Banja Luka Godina/Year: 2008-2010. Tip/Type: natjeaj/competition Investicija/Investment: javna/public
Klijent/Client: Grad Banja Luka/City of Banja Luka BGP objekta/GBA: 2.500 m2

144 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 145

ZAJEDNICE COMMUNITIES Interakcija unutranjeg kolskog, i vanjskog prostora
za igru i odmor, osnovni je koncept oblikovanja, koji
Bolnice i kole dopunjava uvjete orijentacije, ventiliranja i pogleda.
Hospitals and schools
Ulazni elementi su rasporeeni na tri strane lokacije i
meusobno povezani unutranjim zajednikim
prostorijama koje formiraju proirenje horizontalnih i
vertikalnih komunikacija. Tako su dobijeni razliiti
kvaliteti prostora za susrete i igru. Na prvoj etai su
smjetene prostorije za nastavu, organizaciono
podijeljene u dva trakta: linijski trakt matinih uionica
na jugu te sjeverni elijski trakt laboratorija na sjeveru.
elijski raspored prostorija na sjeveru uvodi projektirano
zelenilo unutar samoga objekta na dvije razliite kote.
Junu fasadu objekta karakteriziraju tri elementa linije
koji su odabrani zbog uzviene pozicije lokacije.
Dinamina linija rampe uvodi pjeake u kolsko dvorite i
umanjuje visinsku razliku u odnosu na ulicu. Ovu kosu
liniju uokviruje puna linija matinih uionica koja je
uzdignuta iznad transparentnih elemenata zajednikih
prostorija prizemlja, koja zajedno s treom linijom,
uvuenom u unutranjost volumena, vertikalni akcent
lokacije pretvara u horizontalni element. Trea linija, na
istoku, pretvara se u vertikalu, akcentirajui glavni ulaz u
objekt. Sjeverna fasada je projektirana u elementima
elija kao elementima ralanjivanja fasade prema
zelenilu i stvaranju volumena karakteristinog za lokaciju.
Volumen objekta uvjetovan je konceptom, unutranjom
organizacijom i mogunostima lokacije terena, u nagibu.
Osnovna kola
ip
ip Primary
School
Arhitekti/Architects: Ideogram Isra Tatli, Damir Tatli Lokacija/Location: Sarajevo Godina/Year: 2009. Tip/Type: natjeaj, druga
nagrada/competition, second Prize Investicija/Investment: javna/public Klijent/Client: Opina Centar Sarajevo/Sarajevo Centre
Municipality BGP objekta/GBA: 6.515 m2 3D rendering: Isra Tatli, Damir Tatli
146 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The interaction between the interior of the school and its
outdoor playground forms the basic design concept,
complemented by aspect, ventilation and view.
There are entrances on three sides, with shared internal
corridors and staircases, creating a variety of spaces for
meeting and play.On the first floor, the main classrooms are
to the south and the laboratories to the north. The cell
design of the premises to the north brings the greenery
outside into the building itself at two different levels.The
south faade consists of three linear elements dictated by the
elevated site. The dynamic line of the ramp leads
pedestrians into the school yard, reducing the difference in
level between the street and the yard. This slanting line is
framed by the solid line of the classrooms above the glazed
common rooms on the ground floor which, together with a
third line set back into the interior, transforms the vertical
accent of the site into a horizontal element. To the east the
third line turns into a vertical, accentuating the main
entrance. The north faade has been designed as a series of
cells articulating the faade in relating to the greenery and
creating the volume typical of the site, which was dictated by
both the internal layout and the sloping terrain.
IN BIH 1995-2010 147
ZAJEDNICE COMMUNITIES Koritenjem nagiba postojeeg terena vei dio objekta The sloping site has been used to set much of the building
podvuen je pod zemlju, stvarajui novu topografiju iznad below ground, creating a new topography above which the
Bolnice i kole koje lebdi manji dio objekta u obliku kvadrata i formira rest of the building, which is rectangular in plan, seems to
Hospitals and schools trodimenzionalni javni prostor. hover, forming a three dimensional public space.

Znanje je najvaniji produkt 21. stoljea. Uestvovati u
njegovom stvaranju i prenoenju kroz proces obrazovanja
jedna je od najveih privilegija. Stvarati prostor za
uspjeno odvijanje ovih procesa veliki je izazov. kola ima
kapacitet od 540 uenika i podijeljena je u tzv. malu kolu
(1-4. razred) i veliku kolu (5-8. razred). Osnovna kola
ip locirana je u okviru novog stambenog naselja na
padini nagiba 10-20 posto. U oblikovnom smislu objekt
koristi zemljane materijale i djelimino dinamizirane
oblike koji nastaju iz njegovog izranjanja iz topografije.
Kontrast dinaminim formama ini kvadratno kolsko
dvorite i kvadratni lebdei blok velike kole.
Na ovaj nain iskazan je realni dijapazon funkcionalnih
procesa koji se odvijaju u koli: od djeije emocije,
simbolizirane kroz dinamine oblike fasade, do ozbiljnosti
institucije kole, simbolizirane kroz vrstu i jasnu formu
kvadrata.
Knowledge is the 21st centurys most important product, and
to participate in its creation and transfer through the process
of education is one of the greatest privileges. Creating
premises where this can be successfully carried out is a
major challenge.The school has a capacity of 540 pupils,
divided into two groups: a junior school (1st to 4th grade),
and a senior school (5th to 8th grade). The ip Primary
School is located in a new housing development, on a site
with a 10-20% slope.The building consists of earth
materials and somewhat dynamic forms, resulting from the
way it emerges from the site. The rectangular schoolyard
and the hovering block of the senior school create a contrast
with the dynamic forms.The full range of functions and
reactions that take place in a school, from the childrens
emotions, symbolized by the dynamic forms of the faade, to
the serious institutional nature of the educational
establishment, symbolized by solid, clear quadrangular
forms, is thus reflected in the design.

Lebdea kola
ip/Hovering
Schoolip

Arhitekti/Architects: Studio non stop Sanja Gali-Grozdani, Igor Grozdani Saradnici/Collaborators: Edin Avdibegovi, Hasnija Kazi,
Ilhana Poplata, Jasmina Topagi Lokacija/Location: Sarajevo Godina/Year: 2009. Tip/Type: natjeaj/competition
Investicija/Investment: javna/public Klijent/Client: Opina Centar Sarajevo/Sarajevo Centre Municipality BGP objekta/GBA: 4.600 m2

148 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 149

ZAJEDNICE COMMUNITIES Osnovna kola locirana u sarajevskoj prigradskoj zoni ip
zamiljena je kao kombinacija kole i kulturnog centra
Bolnice i kole unutar lokalne zajednice.
Hospitals and schools
Na nivou arhitektonskog koncepta ova ideja se
transponira u kompaktnu dualnu prostornu konfiguraciju
s jasno razgranienim prostorno-funkcionalnim
matricama dviju karakterom i strukturom posebnih
cjelina. Cilj je postizanje arhitektonske platforme
namijenjene za okupljanje, edukaciju i kulturnu promociju
zajednice unutar koje se nalazi i kojoj pripada. Ostvaren je
postavkom kompaktnog volumena uionikog trakta
proisteklog iz jasnog funkcionalnog strukturiranja
uionica orijentiranih na unutranja dvorita, zamiljenih
kao uionice na otvorenom. Sa snanim trapeznim
volumenom zelenog kosog krova iznad javnih sadraja,
kola je evokacija originalnog pejzaa. Objekt nastoji biti
dijelom tradicije arhitekture kola u Bosni i Hercegovini
koje su tokom historije u svojim reprezentativnim
primjerima uvijek ile ukorak s aktualnim tokovima
arhitekture vremena kojoj pripadaju (od srednjovjekovnih,
potom osmanlijskih, a kasnije i savremenih kola
zapadnog civilizacijskog kruga). Predloenim rjeenjem
eljelo se pokazati na koji nain uobliiti univerzalne,
lokalne i tradicijske principe bitne za ulogu i znaaj koji
bi trebao imati objekt osnovne kole kao institucija i
arhitektonska realizacija unutar zajednice kojoj pripada i
mjesta na kojem se gradi.
Osnovna kola
ip
ip Primary
School
Arhitekti/Architects: Adnan Pai Saradnici/Collaborators: Senaida Halilovi, Nedim Muteveli, Amer Sadikovi Lokacija/Location:
Sarajevo Godina/Year: 2008/2009. Tip/Type: natjeaj, druga nagrada/competition, second prize Investicija/Investment: javna/public
Klijent/Client: Opina Centar Sarajevo/Sarajevo Centre Municipality BGP objekta/GBA: 5.621 m2 Fotograf/Photographer: Nedim
Muteveli, Amer Sadikovi
150 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The primary school, located in the Sarajevo suburb of ip,
has been designed as a combined school and cultural centre
for the local community.
Architecturally, the idea is conveyed by a compact twin
spatial configuration with clearly defined spatial and
functional entities reflecting the different nature and
structure of the two units.The aim was to create an
architectural platform for gatherings, education and the
cultural advancement of the community where it is located
and to which it belongs.This was achieved by the compact
volume of the classroom wing emerging from the clear
functional structuring of the classrooms, which face onto the
inner courtyards and are conceived as outdoor classrooms.
The strong trapezoidal volume of the sloping green roof over
the public facilities evokes the original landscape.The design
is intended to reflect the tradition of school architecture in
Bosnia and Herzegovina, representative examples of which
have always kept pace with new trends in the architecture of
their day, ranging from the mediaeval and Ottoman periods
to the modern schools of the West. The proposed solution is
designed to demonstrate how to shape the universal, local
and traditional principles central to the role and importance
of the primary school as an institution and its expression in
architecture within the community to which it belongs and
the place where it will stand.
IN BIH 1995-2010 151
C ivljenje je istovremeno i intimno i obino. Poput jedenja, pijenja i
spavanja, ivljenje je neto to veina ljudi jednostavno ini, a da ne
razmilja neprestano o tome ta znai biti kod kue, osjeati se kao
kod kue, zatien, siguran u poznatom okruenju. Teko je utvrditi
precizno kad se biti pretvara u ivjeti, i obratno; to se dvoje uglavnom
preklapa i podudara.
U drutvu u kojem je izvjesnost povjerenja, zatite i sigurnosti bila izbrisana ratom, a umjesto toga se
desila iskorijenjenost, biti kod kue neizbjeno ima posebno znaenje te je, stoga, kua prva taka na kojoj
povjerenje opet moe pustiti korijen.
Mi ne ivimo samo u kui, ve podjednako dobro i u susjedstvu. Znatan dio skorije kolektivne i privatne
stambene arhitekture u Bosni i Hercegovini ini se da manje mari za ire ivotno okruenje, nego za sam
stan, vie mari za privatni domen, nego za kolektivni drutveni svijet. Teko da bi nas to trebalo iznenaditi
u situaciji u kojoj nakon traumatinog ratnog perioda treba tek iznova otkriti normalnost svakodnevnog
ivota.
injenica da veliki dio postojeeg stambenog fonda, koliko god neke od tih zgrada bile oronule, datira iz
ere socijalizma, drugi je razlog to se podruje djelovanja arhitekata pomjerilo na arhitekturu luksuznijih
stambenih zgrada i zasebnih kua.

Privatnost Privacy Living is both intimate and ordinary at the same time. Like eating,
drinking and sleeping, living is something that most people simply do,
without continually thinking about what it means to be at home, to
feel at home, protected, safe and in familiar surroundings. Just where
being turns into living, and vice versa, is difficult to determine with
any precision; a large part of the time they coincide.
In a society where the certainty of trust, protection and safety has been erased by war, and uprootedness
has taken hold, being at home inevitably has a special significance and the house is therefore the first
point where trust can take root again.
Living is done not only in a house, but equally well in a neighbourhood. A considerable part of recent
collective and private housing architecture in Bosnia and Herzegovina appears to be less concerned with
the wider living environment than with the dwelling itself, more with the private domain than with the
Privatnost / Privacy collective social world. That is hardly surprising in a situation where the normality of daily life needs to be
rediscovered in the wake a traumatic period of war.
Individualno stanovanje
Detached family houses The fact that a large part of the existing housing stock, however much the worse for wear some of it may
Koncepti stanovanja be, dates from the socialist era, is another reason why the architects field of activity has shifted to the
Housing concepts architecture of the more upmarket apartment building and the free-standing house.
Kolektivno stanovanje
Multi-occupancy housing

152 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 153

 C
Privatnost Privacy

Individualno stanovanje
Detached family houses

44. Sulejman Midi: Obiteljska kua / Family

House, Kiseljak, 2005. 54

45. normal arhitektura (Emir Salki i Muhamed

Serdarevi): Music Farm, Ilida, 2009.
55

46. Malina voro, Veljko Hrgar: Kua za odmor

u Nitavcima / Holiday home in Nitavci,
Prijedor, 2001-2004. 56

47. Duan Jovanovi, Zorica Penuliski: Ona je

pametna kua, Sarajevo, 2007. 57

48. Adnan Pai: Individualna stambena kua

H / H family house, Sarajevo, 2008.
58

49. Adnan Pai: Individualna stambena kua A

+ E / A+E family house, Sarajevo, 2008.
59

154 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 155

P R I VAT N O S T P R I VACY
Individualno stanovanje
Detached family houses
Obiteljska kua
Family House
156
Dinamina arhitektura objekta proizala je iz potrebe
ouvanja kvaliteta individualnog stanovanja unutar
gradske zone, koja ne prua dovoljno intimiteta
obiteljskom ivotu. Objekt je projektiran kao savremena
kua s primjenom ekolokih materijala i koritenjem
suneve energije.
Kiseljak je manje urbano naselje, udaljeno 30 kilometara
od Sarajeva, poznato po nalazitu i tvornici mineralne
vode. Njegovu morfoloku strukturu ine preteno
individualne obiteljske kue izgraene na parcelama od
500 do 2.000 m2. Sama lokacija objekta je slinog
karaktera postavljena u nizu i omeena ve izgraenim
stambenim objektima urbanog karaktera, ali bez
odreenog arhitektonskog i kulturolokog identiteta
odnosno atributa. Pristup lokaciji te blizina i poloaj
postojeih kua odredili su osnovne parametre lociranja
grupa stanovanja: garani prostor, ulaz u objekt i poslovni
prostor orijentirani su na sjeverozapad, kuhinja, dnevni
boravak i terasa na jugoistok, a spavai blok na prvom
katu orijentiran je na jugozapad. Konstrukcija objekta je
jednostavno rijeena poprenim i obodnim fasadnim
zidovima od serijske blok termike i nosive opeke.
Instalacije su savremeno rijeene grijanje u podu, a
priprema sanitarne vode putem solarnih kolektora na
krovu. Ukupni tlocrtni gabarit objekta je 14,5 x 16,60 m,
to je povrina 240,70 m2, a to iznosi 20 posto
izgraenosti povrine parcele.
Arhitekti/Architects: Arhitektonski atelje 4 Sulejman Midi Lokacija/Location: Kiseljak Godina/Year: 2004/2005. Tip/Type:
ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Beus&Tomii BGP objekta/GBA: 320 m2
Fotograf/Photographer: Sulejman Midi, Adnan Drnda
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The clients brief was for a compact detached family house.
The dynamic architecture of the house reflects the need to
preserve the privacy of the family home in an urban zone
that is not conducive to privacy. It was designed as a
modern house, using environmentally friendly materials and
solar energy.
Kiseljak is a small town some 30 kilometres from Sarajevo,
famous for its mineral waters. It consists mainly of detached
family houses on plots ranging in size from 500 to 2,000 m2.
The site of this house is similar in a row of houses,
surrounded by existing town houses with no particular
architectural or cultural identity.The access to the site and
the position of the surrounding houses dictated the location
of the various parts of the house: the garage, front door and
office face north-west, the kitchen, living room and terraces
face south-east, and the bedrooms on the first floor face
south-west. The building is simple in structure, with
transverse and outer walls of industrial thermal blocks and
load-bearing brick. It has under-floor heating and solar
panels on the roof to provide hot water. It measures 14.50 x
16.60 m in plan and has an area of 240.70 m2, or 20% of
the site area.
IN BIH 1995-2010 157
P R I VAT N O S T P R I VACY
Individualno stanovanje
Detached family houses
Music Farm
158
Objekt ine muziki studio i stambena jedinica kao dvije
zasebne funkcionalne cjeline integrirane i isprepletene
unutar jedinstvene arhitektonske strukture. Koncept
objekta je odraz vremena u kojem ivimo vremena
savremenih tehnologija i naina proizvodnje, kojim autori
postavljaju pitanje gdje je granica izmeu industrijskih i
administrativnih objekata. Pojam farme kao arhetipskog
mjesta gdje se stanuje i proizvodi hrana za zadovoljavanje
osnovnih ljudskih potreba moe se nedvosmisleno
pripisati i mjestu kreiranja savremene muzike kao
neodvojivom i neophodnom segmentu savremenog
ivota. Tendencija da se radno mjesto, ako opis posla to
dozvoljava, u posljednjih nekoliko decenija sve ee
pokuava pribliiti mjestu stanovanja oitava se ne samo
racionalnijim koritenjem vremena kao resursa nego i
svjesnou odnosa spram zatite ovjekove okoline.
Objekt je lociran unutar mirnog i ozelenjenog ambijenta
prigradske zone naselja Ilida. Izgraen je u identinom
volumenu i gabaritu na mjestu nekadanjih dviju
radnikih jedinica, oslanjajui se jednim zabatnim zidom
uz treu, preostalu jedinicu. Jednostavni volumen zavren
kosim krovom, koji je u cijelosti obloen limom, nosi
odlike i high-tech i vernakularnog izraza. Poloaj, broj i
veliina otvora i bez koloritne razlike u fasadi jasno
ukazuju na karakter unutranjeg sadraja zatvoreniji sivi
kubus predstavlja jednoetani studio, dok otvoreniji
smei kubus predstavlja dvoetanu stambenu jedinicu.
Smee omalterisani betonski ramovi, postavljeni u
nepravilnom rasporedu, nemaju nikakvu statiku ili nosivu
funkciju. Fasadi daju dinaminost i jo vie naglaavaju
arhetipsku konturu objekta.
Arhitekti/Architects: normal arhitektura Emir Salki, Muhamed Serdarevi Saradnici/Collaborators: Dino Eminagi Lokacija/Location:
Ilida Godina/Year: 2008/2009. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Magaza d.o.o.
Sarajevo BGP objekta/GBA: 180 m2 Fotograf/Photographer: Munever Salihovi
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The property consists of a music studio and house forming
the two functionally separate units of a single architectural
structure. The design reflects the times we live in a time of
modern technology and production methods, used by the
architects to question where the boundary lies between
industrial and office buildings. The idea of the farm as the
archetypal place where people both live and produce food to
meet one of our basic human needs can also be
unambiguously ascribed to a place where music is created as
an inseparable and essential part of modern life. The trend
over the past few decades of bringing the home and the
workplace together whenever ones job description allows is
reflected not only in a more rational use of time as a
resource but also in our attitudes towards the protection of
the environment. The building is located in the quiet, green
setting of the suburb of Ilida, and is of the same size and
footprint as the two workplaces that formerly occupied the
site, with one gable wall abutting onto a third surviving
building. The simple volume with its pent roof, which is
entirely clad in sheet metal, has both high-tech and
vernacular features. The position, number and size of the
openings, which are the same colour as the faade, suggest
the nature of the interior: the enclosed grey cube of the two-
storey studio and the open-plan brown cube of the three-
storey house. The brown-rendered concrete frames, set at
uneven distances apart, have no structural or bearing
function, but give the faade its dynamism and still further
accentuate the archetypal contours of the building.
IN BIH 1995-2010 159
P R I VAT N O S T P R I VACY Dizajn kue za odmor u selu Nitavci nedaleko od
Prijedora baziran je na ideji uspostavljanja dijaloga
Individualno stanovanje izmeu prirodnog i artificijelnog, tanije njihovog
Detached family houses integrisanja u harmoninu cjelinu.
Parcela na koo e kua izgraena nosi u sebi posebnu
uzbudljivost s obzirom na to da se direktno naslanja na
rijeku Sanu. Upravo e i kvalitet lokacie u njenim
prirodnim karakteristikama. Izdueni volumen kue prati
oblik parcele, otvaraui se prema rieci i uvlaei e u
enterier preko natkrivene terase. Kua e najveim svoim
dielom odignuta od tla, pa se stie utisak da lebdi iznad
travnjaka. Redukciom unutranjeg prostora na ono to e
bitno, povrina terase dominira u odnosu na sve ostale
prostore u kui. Raspored prostoria za dan i no logino
e sproveden, ostvareno e maksimalno povezivanje sa
vanjskim terasama, koe su smisao boravka u ovo kui u
dodiru sa prirodom.
Kua za odmor u
Nitavcima
Holiday home in
Nitavci
Arhitekti/Architects: Malina voro, Nevena ebi, Veljko Hrgar Lokacija/Location: Nitavci, Prijedor Godina/Year: 2001-2004. Tip/Type:
ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Veljko Hrgar BGP objekta/GBA: 120 m2
Fotograf/Photographer: Malina voro
160 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The design of the holiday home in the village of Nitavci
near Prijedor is based on the idea of creating a dialogue
between the natural and the artificial to integrate them into
a harmonious whole.
The particular appeal of the plot on which the house stands
is its river frontage onto the River Sana, giving it its
distinctive natural features. The long, low house echoes the
shape of the plot, facing onto the river and borrowing it for
the interior by means of a covered terrace. Most of the house
is on stilts, giving it the impression of hovering above the
lawn. The interior is reduced to the bare essentials, making
the terrace the dominant feature. The open fireplace is the
focal point of the entire house. The living room and
bedrooms are arranged to provide as many points of access
to the terrace as possible, epitomizing the essence of
summer life in touch with nature.
IN BIH 1995-2010 161
P R I VAT N O S T P R I VACY
Individualno stanovanje
Detached family houses
Ona je pametna kua je osmiljena kao objekt koji
koristi tehnoloki napredak u funkciji ugodnog
stanovanja. Projektovan je i izveden uz primjenu svih
poznatih savremenih instalacija. Daljinsko upravljanje i
mogunost vremenskog programiranja ostvaruje se
putem daljinskog upravljaa, tuch screenova, plazme,
telefona i interneta. Upravljanje se primjenjuje nad svim
ureajima povezanim sa elektrinom energijom. Ovo
omoguuje i upravljanje onim elementima koji su
povezani sa elektromotorom, kao to su zavjese i roletne
ili upravljanje grijnim tijelima.
Objekat koristi razliite energetske izvore: toplinsku
pumpu na gas, solarne kolektore, koji obezbjeuju
djeliminu koliinu energije potrebne za grijanje bazena i
sanitarne vode, kao i dva kondenzaciona kotla na gas.
Ugraena je i bazenska klima komora koja stvara isti
ugoaj zimi kao i ljeti, i to kako po temperaturi tako i po
vlanosti zraka. Rasvjeta je projektovana i po scenama i
pojedinano, sa mogunocu promjene intenziteta. Scene
su podijeljene prema ambijentalnim cjelinama, kako u
enterijeru tako i eksterijeru.
Prilikom oblikovanja autori su nastojali da uz to
jednostavniju formu dobiju to razigraniju kompoziciju.
Jasni stabilni kubusi prekinuti su praznim ostakljenim
dijelovima; tamno je prekinuto svijetlim. Primijenjena je
raznovrsna i bogata materijalizacija: kamen, fasadna
buka, drvo, HPL ploe, staklo.
The Smart House has been conceived as a building making
use of advances in technology to provide a comfortable
home. It was designed and executed using all known
modern devices. Remote control and time switches are
operated by remote control devices, touch screens, plasma,
telephone and internet, operating every electrical device
including those provided with electric motors, such as
curtains, roller-blinds and radiators.
The building makes use of a range of energy sources: gas
heat-pumps, solar panels providing some of the energy
needed to heat the pool and provide hot running water, and
two gas condensation boilers. The pool has its own climate
control centre providing optimum temperature and humidity
control both winter and summer. The lighting has been
designed both for scenic effect and as individual lights, with
dimmer switches. The scenes are divided into ambient
groups both inside and out.
The architects sought to obtain a lively composition using
the simplest possible forms. The plain, stable cubes are
interrupted by the voids of glazed areas; dark is interrupted
by light. A wide range of materials have been used,
including stone, rendering, wood, HPL laminate and glass.

ONA JE
PAMETNAkua
The Smart House

Arhitekti/Architects: Duan Jovanovi, Zorica Penuliski Saradnici/Collaborators: Arijana uvak Lokacija/Location: Sarajevo Godina/Year:
2005-2007. Tip/Type: ugovor/commisson Investicija/Investment: privatna/private Klijent/Client: Duan Jovanovi BGP objekta/GBA:
650 m2 Fotograf/Photographer: Amer Kapetanovi, Irfan Redovi

162 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 163

P R I VAT N O S T P R I VACY
Individualno stanovanje
Detached family houses
Individualna stambena kua H nastala je kao potpuno
nova zgrada, ali identinog volumena i forme kao ve
postojea kua na istom mjestu izgraena krajem 40-ih
godina 20. stoljea, koja svojim funkcionalnim i
arhitektonskim karakteristikama nije mogla odgovoriti
posebnim potrebama njenih novih vlasnika. Insistiranje
na istoj volumetriji posljedica je strogih urbanistikih
regula u ovoj sarajevskoj urbanoj zoni.
Projektom se ovakvo ogranienje eljelo pretvoriti u
prednost, na nain da artikulacija unutranjeg prostora
postaje generator arhitektonskog karaktera novog
objekta. Diferencijacija dnevnih i nonih sadraja po
vertikali, kao i njihovo strukturiranje u horizontalnom
planu, nastoji uskladiti programske zahtjeve s
kontekstualnim okvirom unutar kojeg se kua nalazi.
Postavljanje ulaza na sjevernoj strani, nasuprot ulazu na
samu parcelu, omoguilo je definiciju dvorita prema ulici
kao zavrnu a ne poetnu taku vektora kretanja. Dvorite
nije tranzitna zona, nego beskompromisni produetak
unutranjeg prostora. Kompaktni volumen s dvovodnim
krovom, kao arhetip kue, za cilj ima jasnu potvrdu
karaktera i programa, prikladnu sadanjem vremenu.
Negativi, kao naizgled nasumine perforacije
jedinstvenog volumena, definiraju estetiku kue i
omoguavaju prikladnu insolaciju i vizure. Postavljanje
glavne nosive konstrukcije po obodu volumena i primjena
zadebljane ploe konstruktivni su doprinos osnovnom
konceptu.
The H family house is an entirely new building of the same
size and form as the one built in the 1940s on the same site,
which was not to the taste of or suited to the new owners.
Sarajevos strict planning regulations meant that the new
house had to be of the same size as the one it was replacing.
The intention was to transform this constraint into an
advantage so that the articulation of the interior would
generate the architectural character of the new building.
The layout of the living areas and bedrooms on separate
storeys and the way they are structured horizontally were
designed to reconcile the familys needs with the setting of
the house. The front door is to the north, making the
courtyard facing the street the end point of the path rather
than the starting-point, uncompromisingly an extension of
the interior rather than a place of transit.The archetypal
compact house with its gabled roof was designed to affirm
its nature and use as congruent with the present day. Voids,
as seemingly random gaps in the uniform volume of the
house, define its aesthetics while providing views and
sunlight.

Individualna
stambena kua
H
H family house

Arhitekti/Architects: Adnan Pai Saradnici/Collaborators: Kenan Vatrenjak Lokacija/Location: Sarajevo Godina/Year: 2008-2009.
Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Porodica Hadovi/Hadovi family
BGP objekta/GBA: 140 m2 Fotograf/Photographer: Nedim Muteveli

164 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 165

P R I VAT N O S T P R I VACY
Individualno stanovanje
Detached family houses
Kua A+E projektirana je za trolanu porodicu koja je The A+E family house was designed as a home for a family of
eljela stanovanje u prenapuenom urbanom sarajevskom three wanting to live in a less crowded area of Sarajevo.
kvartu zamijeniti ivotom u kui na prostranoj padinskoj
lokaciji u neposrednoj blizini Sarajeva. The site slopes steeply from the approach road to the north
down to the stream on the south side. The family, a young
Parcela je u znatnom nagibu od sjeverne pristupne couple with a child, are fond of sport, and to accommodate
saobraajnice prema potoku kao najnioj koti na junoj this, the plot was divided into two, with the house at the top
strani parcele. S obzirom na to da se radi o mladom of the east side and two terraced tennis courts to the
branom paru koji se bavi i sportom, lokacija je west.The house is on three levels, with the front door, garage
podijeljena na dva dijela. Kua je smjetena na gornjem and guest rooms on the middle level, a workshop to the
dijelu istone strane parcele, dok zapadnu stranu north on the top level, and the family rooms and bedrooms
zauzimaju dva terasasto plasirana sportska terena za on the lower level. This level consists of a linear succession
tenis. Kua je prostorno diferencirana na tri razliita of open-plan living areas and separate bedrooms, with a
nivoa. Srednji, ulazni nivo, pored ulazne partije, sadri i glass screen facing south down the slope and a view of the
garau i prostorije za goste. Na njegovoj sjevernoj strani, surrounding hilltops. The shape of the pent roof, a trapezoid,
na viem nivou, nalazi se radionica, a na junoj strani, na derives from the lie of the land and covers the successive
niem nivou, nalaze se dnevne i none prostorije terraces of the interior.
namijenjene stanovanju porodice. Ovaj nivo je organiziran
u linearnoj sekvenci otvorenih i zatvorenih prostora
dnevnog i nonog boravka, koji su putem ostakljenog
ekrana orijentirani niz padinu s junim osunanjem i
pogledom na vrhove okolnih brda. Forma trapeznog
jednovodnog krova nastaje transpozicijom topografije
terena koja natkriva terasasto razvijene prostorne
sekvence enterijera. Formalni izraz je osloboen klieja
lokalno-tradicionalnog, potujui univerzalna pravila
gradnje na kosom terenu.

Individualna
stambena kua
A+E
A+E family house

Arhitekti/Architects: Adnan Pai Saradnici/Collaborators: Amer Sadikovi, Nedim Muteveli Lokacija/Location: Sarajevo Godina/Year:
2008. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: A+E BGP objekta/GBA: 250 m2
Fotograf/Photographer: Adnan Pai, Nedim Muteveli

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Koncepti stanovanja
Housing concepts

50. FILTER (Vedad Islambegovi, Ibrica

Jaarevi, Kenan Vatrenjak, Asmir
Muteveli): Kucha Mihi, Sarajevo,
2009/2010. 60

51. Mirna Lonarica: Montane kue T kua

(2010), Modularne PROMO kue (2009),
Pre-fab houses: Cube House (2009) and
Modular Promo House (2008) 61

52. Diana Stupar, Slobodan Stupar: Bewo

apartmani / Bewo apartments, Banja Luka,
2008. 63

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P R I VAT N O S T P R I VACY
Koncepti stanovanja
Housing concepts
Kua je projektirana na mjestu nekadanjeg dotrajalog
objekta unutar stambene zone naselja Ilida. Prema
urbanistikim zahtjevima potovan je nekadanji gabarit,
unutar kojeg je, prema eljama budueg korisnika, bilo
potrebno kreirati mnogo vei sadrajni kapacitet od onog
koji je nudio zadani volumen. Kako bi se postigla
maksimalna iskoritenost unutranjeg prostora, kreiran je
inovativni koncept kojim se horizontalne komunikacije
svode na vertikalne i time se stambene funkcije
deniveliraju u dinamine nivoe.
Definiran kao sistem zasnovan na generikoj shemi,
kojom su objedinjene funkcija, forma i struktura, koncept
je mogue posmatrati kroz dvije cjeline. Prvu unutranje
tijelo kue, ine etiri osnovna nivoa (suteren, prizemlje i
dva sprata) formirana od etiri razliito denivelirane
platforme s odreenim sadrajima. Nivoi suterena i
prizemlja predstavljaju polujavni dio kue, gdje
prostorije nisu odvojene zidovima, to nije sluaj u
intimnom dijelu spavaonica smjetenom na prvom i
drugom spratu. Kompletan sistem je orijentiran oko
centralnog stepeninog jezgra. Drugu jednostavni
omota kue, koji je estetski potpuno podreen
unutranjoj dispoziciji i karakteru sadraja. Predviene su
dvije osnovne veliine prozora (modul A i modul A/2), koji
se pozicioniraju spram funkcionalnih potreba i zadane
orijentacije (veliinom se reguliraju koliina svjetla i
toplotni gubici). Fasadno rjeenje je daleko od
formalistikog, ve je prije dijagram sila koje djeluju iz
unutranjosti prema vani, kao i obratno.
The house has been designed for a site in Ilida where a
derelict building currently stands. Planning regulations
require the existing footprint to be retained, but the clients
brief was to provide much more indoor space than this would
permit. An innovative design was developed using the given
space with maximum efficiency, in which corridors become
staircases to create a dynamic split-level house.
Based on a generic design uniting structure, form and
function, the design may be seen as consisting of two
elements. The first is the four-storey interior (basement,
ground floor and two upper floors) composed of four
platforms at different levels around the central staircase,
with the basement and ground floor semi-public open-plan
spaces and the first and second floor containing separate
bedrooms.The second is the simple skin of the building,
which is aesthetically subordinate to the interior layout.
Two sizes of window are planned (module A and module A2),
located to suit the function and aspect of the rooms, with
size used to govern the amount of light and heat loss. The
design of the faade is far from formalist, but is rather a
diagram of the forces acting outwards from within and vice
versa.
A patio was added to make the basement into living quarters
and to create a sense of privacy.

Kucha Mihi

Arhitekti/Architects: FILTER Vedad Islambegovi, Nedim Muteveli, Ibrica Jaarevi, Kenan Vatrenjak, Asmir Muteveli
Saradnici/Collaborators: Adi Muminovi, Adnan Hadihasanovi Lokacija/Location: Sarajevo Godina/Year: 2009-2010.
BGP objekta/GBA: 90,25 m2

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P R I VAT N O S T P R I VACY
Koncepti stanovanja
Housing concepts
Cube House i Modularne Promo kue su razliiti
arhitektonski koncepti projektiranja porodinih kua, ali u
oba sluaja cilj je arhitektonski definirati scenografiju
koja korisnicima omoguava slobodu izraavanja vlastitog
ivotnog stila. Prilikom planiranja i projektiranja ovih
montanih kua cilj je bio postii kvalitet stanovanja kroz
funkcionalnost dispozicije i ostvariti savremenost
oblikovnog iskaza kojim e se objekt jednako dobro
uklapati kako u urbani tako i u ruralni prirodni ambijent.
Karakteristike ovog tipa gradnje su otvorena i fleksibilna
struktura, efikasna i jednostavna gradnja, energetska
tedljivost i jednostavan proizvodni proces elemenata.
Porodina kua Cube House ima jednostavnu
funkcionalnu dispoziciju. Veza prizemne i gornje etae
ostvarena je funkcionalno i vizuelno preko prostora
galerije. Na ovaj nain okruenje objekta komunicira i sa
etaom, jer se vizure i svjetlost preko dnevnog boravka
prenose na prostor sprata. Cube House je dobila naziv po
ortogonalnim i kubistikim formama kojima autorica
gradi arhitektoniku, eksterijer i enterijer. Modularne
Promo kue su projektirane, pored dimenzionalnog, i kroz
dva odvojena modula u funkcionalnom smislu (zona za
dnevni boravak i zona za odmor). Razliitim
kombinacijama ovih modula projekt se moe razvijati po
horizontalnom ili vertikalnom planu, uz potivanje svih
bitnih aspekata relevantnih za stambene zgrade
(orijentacija, prirodno osvjetljenje, funkcionalna
dispozicija). Ovaj koncept se na kraju ostvaruje i kroz
konstruktivni plat, koji pojednostavljuje projekte u
smislu proizvodnog procesa.
The Cube House and the Modular Promo House are two
different architectural design concepts for a family house,
both intended to achieve an architecturally designed mise-
en-scne giving the occupants the freedom to express their
own particular lifestyle. The intention when designing these
pre-fab houses was to create a workable layout and a
contemporary look that would allow the building to fit
equally well into an urban or a rural setting. Typically, this
type of building, characterized by its structural flexibility and
energy efficiency, is built of components that are simple to
manufacture and to erect. The Cube House has a simple,
functional layout. The ground and first floor are linked
physically and visually by a gallery. This also links the first
floor with the buildings surroundings, as the view from and
light entering the living room also reach the first floor. The
Cube House has its name from the orthogonal, cubist forms
used by the architect to create the architecture, exterior and
interior. The Modular Promo Houses have been designed as
two separate modules in terms of both size and function
one for daytime, the other containing bedrooms. These
modules can be combined in various ways both horizontally
and vertically, while maintaining the necessary features of
residential properties (aspect, natural light, layout etc.).
Finally, the design is also executed by means of a structural
mantle that simplifies the manufacturing process.

Montane
modularne kue
Pre-fab modular
houses

Arhitekti/Architects: Mirna Lonarica Saradnici/Collaborators: PROMO struni tim/PROMO expert team Godina/Year: 2009. Tip/Type:
ugovor/commission Investicija/Investment: privatna/private Klijent/Client: PROMO d.o.o. Montane kue/PROMO d.o.o. Prefabricated
Houses BGP objekta/GBA: Cube House 184m; Modularne Promo kue/Modular Promo Houses (63-130m) 3D rendering: Mirna
Lonarica

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P R I VAT N O S T P R I VACY
Koncepti stanovanja
Housing concepts
Kako stambeni objekti s vie stambenih jedinica najee
predstavljaju konane, dovrene, statine kompozicije,
namjera autora je bila da u okviru ovog koncepta ponude
viziju stambene zgrade kao dinamine i izmjenljive
strukture unutranje preraspodjele prostora. Koncept se
bazira na premisama koje zadovoljavaju trine uvjete,
estetske kriterije arhitektonskog sklopa i potrebu
kreiranja individualnog za svakog razliitog, ivotnog
ambijenta. Prostorni sklop zgrade zasniva se na pojmu
atipine etae, to je zapravo reakcija na uobiajeni
termin tipina etaa, koji najee podrazumijeva veliki
broj identinih stambenih jedinica. Promjenljiva
modularna jedinica je kljuni element od kojeg se tka
etaa i predstavljena je kroz katalog stanova. Modularna
koordinacija izlazi ususret zahtjevima kako investitora
tako i kupca, dozvoljavajui fleksibilnost, uz efikasnu
kontrolu investicije. U svakoj jedinici je predvien ekstra
prostor, koji se nalazi na mjestu izmeu stana i fasade,
izmeu privatnog i javnog prostora. Ovaj prostor moe
imati razliitu funkciju (terasa, galerija, radna zona, vrt),
moe biti grijan ili negrijan, moe se protezati kroz jednu,
dvije ili tri etae u okviru jednog stana. Racionalan broj
stanova po lameli (8-12) i skraeni koridori na svakoj
drugoj etai formiraju mikrosusjedstva i omoguuju visok
nivo privatnosti korisnika. Personalizacija podrazumijeva
fleksibilnost fasadne opne kao prostora identifikacije i
Instead of the more usual block of flats, a static, finished
composition, the architects decided to propose a vision of
multi-occupancy housing where the interior layout is a
dynamic, variable structure. The concept was designed to
satisfy market conditions, aesthetic criteria and the need to
create individual living spaces for each occupant. The
building is based on an atypical storey, a reaction to the
typical block of flats consisting of numerous identical units
which was the norm in communist times and later. The key
element is a variable modular unit, chosen from a catalogue
of flats and combined to form the storey. Modular
coordination meets the need of both investors and buyers for
flexibility and effective control of their investment. Every flat
has an extra space between the flat itself and the faade, a
buffer between the privacy of the home and the public arena.
This space can be used in a variety of ways as a terrace, a
gallery, a study or home office, a garden and so on; it can be
heated or left open to the elements, and it can rise through
one, two or three storeys within a single flat. The limited
number of flats on each stairwell (8 to 12) and the short
corridors on alternate storeys form a micro-neighbourhood
allowing the occupants a considerable degree of privacy.
Personalization calls for flexibility in the design of the
faade, which forms part of the occupants identity and
mediates their interaction with the outside world, making
each flat unique. Each buyer can choose the structure and a

Bewo apartmani
Bewo apartments

Arhitekti/Architects: UNA ininjering Diana Stupar, Slobodan Stupar Saradnici/Collaborators: Jasmina Mitrovi, Sanja Bokan, Dragan
Raili Lokacija/Location: Banja Luka Godina/Year: 2008. Tip/Type: natjeaj, druga nagrada/competition, second Prize Klijent/Client:
Besser Wohnung BGP objekta/GBA: 10.500 m

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Kolektivno stanovanje
Multi-occupancy housing

53. Amir Vuk, Mirko Mari: Stambena zgrada

Mejta / Mejta building, Sarajevo, 2001.
64

54. Sanja Gali-Grozdani, Igor Grozdani: Ski

apartmani / Ski apartments, Bjelanica,
2006. 65

55. Mirsad Hadirovi, Vedad Kasumagi:

Apartmani i javni sadraji Panorama Sole /
Panorama Sole apartments and public
facilities, Bjelanica, 2010. 66

56. Mihailo Lujak: Stambeno-poslovni objekat /

Mixed-use building, Banja Luka, 2010.
67

57. Amir Vuk: Stambena zgrada ip / ip ats,

Sarajevo, 2006. 68

58. Kenan Hadovi: Stambena zgrada

Bolgrano / Bolgrano ats, Sarajevo, 2009.
69

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P R I VAT N O S T P R I VACY
Kolektivno stanovanje
Multi-occupancy housing
Sveto je pravilo u Sarajevu susjed je blii od brata
Stambena zgrada Mejta nalazi se u jednoj od
najzanimljivijih urbanih sekvenci Sarajeva, gdje secesijski
objekti iz perioda austrougarske gradnje na ovim
prostorima, zajedno s interpolacijama moderne, formiraju
jasne veliine fasade, rekli bismo, u tipino
srednjoevropskim manirima. Na poetku ulice u osami je
djelo majstora profesora Neidhardta, u doticaju sa
stambenim naseljem arhitekte trausa iz 70-ih godina
prolog vijeka. U takvoj historijskoj guvi trebalo je
smjestiti ovaj poslovno-stambeni objekt. Potovana su i
naela austrougarske gradnje. Prema ulici strogi, jasni i
paradni, prema dvoritu lagani i u verandama. Ovalni krov
nad ulinom fasadom skriva dvije etae, prozori u tijelu
kue su proeti kroz dvije etae te ponitavaju jasno
oitavanje spratnosti objekta, a i u dobrom su odnosu s
objektom koji se naslanja. Ulina fasada je jasne
tripartitne podjele: baza tijelo glava. Unutranja
fasada (velika veranda), zbog blizine susjednog objekta,
zbog unutranje diskrecije te june orijentacije,
opremljena je pominim aluzinama. Ovo je kua sa dva
lica, ija se podijeljenost oituje u profilu zapadne fasade.
Presjek kue jasno pokazuje tenju da se volumenski
ispotuje susjedstvo. Sloeni je to citat sarajevske
tolerancije u kojoj su autori odrastali, a koja je danas sve
manje prisutna. Reklo bi se da ova kua nastavlja s priom
koja bi se mogla nazvati i sarajevska arhitektonska
Hagada.
In Sarajevo, one principle is sacrosanct: your neighbour is
closer to you than your brother.
The Mejta building is located in one of Sarajevos most
interesting townscapes, where Secessionist buildings dating
from the Austro-Hungarian period combine with infills in the
Modernist style to form streetscapes in the typical Central
European manner. The first building in the street, a
masterpiece by Professor Neidhardt, rubs shoulders with a
1970s housing development by Ivan traus. This was the
historical mish-mash in which this mixed-use building was
to be located.The Austro-Hungarian design principle of a
severe, formal street front and a more relaxed rear faade
with verandas overlooking the courtyard has also been
respected. The elliptical roof over the street front covers two
storeys, and the windows in the carcass of the house, which
rise through two storeys so that the articulation into storeys
cannot easily be read, relate well to the adjoining building.
The street front has a clear tripartite structure: footing, body,
head. Because the next-door building is so close to the inner
faade, the large south-facing veranda is fitted with
adjustable louvres, to provide privacy as well as shade. This
is a house with two faces, a division clearly visible in the
west elevation. In section, the way in which respect for ones
neighbours informs the design of the building is clear to see.
This is a complex reference to the tolerance of the Sarajevo
in which the architects grew up, a spirit that the war was
intended to destroy, and which is fading by the day. One
might say that this house continues the story of what could
be called Sarajevos architectural Haggada.

Stambena zgrada
Mejta
Mejta residential
building

Arhitekti/Architects: Amir Vuk, Mirko Mari Saradnici/Collaborators: Besim Mehmedi, Lada Maglajli, Aida Halilagi, Kenan Brkalija
Lokacija/Location: Sarajevo Godina/Year: 1999-2001. Tip/Type: ugovor/commission Investicija/Investment: javna/public
Klijent/Client: Zavod za izgradnju kantona Sarajevo/Canton Development Institute BGP objekta/GBA: 1.200 m
Fotograf/Photographer: Sandro Lendler

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P R I VAT N O S T P R I VACY
Kolektivno stanovanje
Multi-occupancy housing
Ski apartmani bazirani su na formiranju vjetake
topografije, koja se oblikom i materijalizacijom uklapa u
okolni planinski ambijent: planine, ume, stijene i snijeg.
Organizaciona shema, koju ine etiri odvojena
apartmanska objekta, bazirana je na organizacionoj shemi
planinskih naselja katunskog tipa, s pojedinanim,
slobodnostojeim objektima, koji ine jedinstvenu
prostornu i funkcionalnu kompoziciju. Materijalizacija
objekta koncipirana je tako da se koriste lokalni materijali
(drvo i kamen), kao i lokalne boje (zelena i bijela), to
odgovara okolnim elementima prirodnog okruenja. U
tom smislu je osnovni koncept vjetake topografije
dodatno pojaan materijalizacijom i bojom, uklapajui
objekt u njegovo prirodno okruenje. Funkcionalna shema
bazirana je na vizuri prema masivu i vrhu Bjelanice.
etiri pojedinana volumena su kompoziciono smaknuta,
tako da svaki od 78 apartmana ima direktan pogled na
vrh Bjelanice. Kompozicija u cjelini provocira dijalog
izmeu vjetake topografije i prirodnih materijala,
globalnih turistikih resorta i lokalnog katunskog
odmora, digitalnih MMS razglednica i boja okolne
prirode...
The ski apartments were designed to create an artificial
topography, its shape and materials echoing the natural
surroundings of mountains, forest, rocks and snow.
The layout, consisting of four separate apartment buildings,
is inspired by the katun type of traditional mountain village
with its detached buildings forming a single spatial and
functional composition. The materials used are local wood
and stone, and the colours are local too green and white
reflecting the natural surroundings. The basic concept of
artificial topography is thus enhanced by the materials and
colour palette so that the buildings blend into their setting.
The layout centres on the view of Mt Bjelanica, with the four
detached buildings arranged so that each of the 78
apartments enjoys a direct view of the mountain-top. The
composition as a whole creates a dialogue between the
artificial topography and natural materials, between global
tourist resorts and local holidays in the mountains, between
digital multimedia postcards and the colours of nature.

Vjetaka
topograja
Bjelanica
Articial
topography
Bjelanica

Arhitekti/Architects: Studio non stop Sanja Gali-Grozdani, Igor Grozdani Saradnici/Collaborators: Edin Avdibegovic, Hasnija Kazic,
Jasmina Topagi Lokacija/Location: Bjelanica Godina/Year: 2004-2006. Tip/Type: ugovor/commission Investicija/Investment:
privatna/private Klijent/Client: Unioninvest d.o.o. Sarajevo BGP objekta/GBA: 6.500 m Fotograf/Photographer: Munever Salihovi,
Bojan Marjanovi

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P R I VAT N O S T P R I VACY
Kolektivno stanovanje
Multi-occupancy housing
Realizirani objekt konceptualno obuhvaa dvije
funkcionalno odvojene cjeline stambenu i javnu.
Teren u nagibu, orijentacija i vizure prema skijalitu,
neposredno okruenje i prirodni ambijent su autorima
bile osnovne smjernice prilikom pozicioniranja objekta i
definiranja njegove forme i materijalizacije. Objekt se
prilagoava kosom terenu, pa su tako dva poslovna
prostora realizirana u donjoj, suterenskoj etai S02, a
22 apartmanske jedinice na etiri preostale etae (suteren
S01, prizemlje, sprat, mansarda). Apartmanima se pristupa
glavnim stambenim ulazom, funkcionalno odvojenim od
pristupa javnim sadrajima. Veza kroz objekt ostvarena je
stepenitem i liftom. Organizacija i dispozicija
apartmanskih jedinica tretirane su na tri naina: kao
studio, zatim s jednom spavaom sobom i sa dvije
spavae sobe. Prilikom likovnog oblikovanja objekta u
obzir su uzeti prirodni planinski, i postojei izgraeni
kontekst, kao i savremeni principi oblikovanja planinskih
objekata. U oblikovanju dominira zatvoreni kubus,
materijaliziran drvenom oblogom i uklopljen u osnovnu
dinaminu strukturu objekta bijele boje. Kroz koritenje
jednostavnih i pokrenutih formi te odnosa punog i
praznog na efektan nain se iskoristio kontrast u boji i
materijalizaciji te naglasilo drvo kao prirodni materijal
koji odgovara zadatom kontekstu.
The Panorama Sole design consists conceptually of two
separate functional entities, the residential and the public.
The sloping site, orientation and view of the ski slopes, the
setting and the natural environment dictated the siting of
the building and its form and materials.The building fits into
the sloping site, with the two commercial premises at lower
basement level and the twenty-two apartments on the other
four floors (upper basement, ground floor, first floor and
attic). The main entrance to the apartments is separate from
the entrance to the public areas; stairs and a lift lead to the
upper storeys. The apartments are of three sizes: studio flats,
one-bedroom flats and two-bedroom flats.The appearance of
the building was designed with the natural mountain setting
and the built environment in mind, as well as contemporary
design principles for mountain resorts. The design is
dominated by a solid cube clad in wood and incorporated
into the basic dynamic white building. The use of simple
moving forms and the ratio between solids and voids exploit
the contrast of colour and materials and accentuate wood as
a natural material ideally in this setting.

Apartmani
Panorama Sole
Panorama Sole
apartments

Arhitekti/Architects: Mirsad Hadirovi, Vedad Kasumagi Lokacija/Location: Bjelanica Godina/Year: 2007-2010. Tip/Type:
ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Panorama Sole d.o.o BGP objekta/GBA: 1.950 m
Fotograf/Photographer: Vedad Kasumagi

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Kolektivno stanovanje
Multi-occupancy housing
Prostorna organizacija objekta (monoforma) ima za cilj
integrisanje najviih kvalitativnih uslova stanovanja koje
poseduje stanovanje u individualnoj kui u prostornu
shemu stambene zgrade sa stanovima.
U oblikovnom smislu objekat formira jedinstvena
spoljana opna od kamena, koja obuhvata unutranji,
zatieni stambeni prostor. Kakav je odnos spoljanjeg i
unutranjeg prostora stana posle postmodernog perioda,
na poetku dvadeset prvog veka? Koliko teita ima nova
shema stana? Gde su poloaji teita u novom stanu? Koji
prostori gravitiraju tom (tim) teitu (teitima)?
Ponuena shema stana predstavlja jedan od moguih
odgovora na ova pitanja. Nova shema stana ima jedno
teite, koje se nalazi u unutranjem prostoru stana, na
granici dnevne zone i spoljanjeg prostora. Ovom teitu
ravnopravno gravitiraju unutranji prostori dnevne zone
stana i okolni spoljanji prostor. Stie se utisak da
spoljanji prostor tei da ue u unutranjost stana, usled
ega spoljanji prostor postaje sastavni deo dnevne zone
novog stana.
The monoform layout is designed to introduce the quality of
life enjoyed in a detached house into the layout of a block of
flats.
The building consists of a uniform outer stone shell
surrounding the flats within. The questions it addresses are:
what is the ratio between exterior and interior in this early
21st century, post-postmodern age? How many focal points
are there in the new home? Where are the focal points, and
what are the rooms that are centred around them? The
proposed layout of the flats in this design is one possible
answer to these questions.The new layout has a single focal
point, located on the cusp of the living area and the
outdoors. This focal point thus becomes a centre towards
which both the living area and the outside world gravitate,
thereby bringing the outside in and making it part of the
space in the flat that is in use during the day.

Stambeno-
poslovni objekat
Mixed-use
building

Arhitekti/Architects: Projekt Mihailo Lujak Saradnici/Collaborators: Ivana Sopi Lokacija/Location: Banja Luka Godina/Year: 2008-
Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Sran Stanivukovi BGP objekta/GBA: 800 m
3D model: Aleksandar Kui

184 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 185

P R I VAT N O S T P R I VACY Limit kao inspiracija
Kolektivno stanovanje Limit je zaista arhitektima ponekad najbolja inspiracija.
Multi-occupancy housing Ovdje su autori bili limitirani tapiastom, zadanom
urbanom formom (famoznom markicom), koja u silueti
podsjea na golf tap unutar zadanih dimenzija, bez
prava na bilo kakvo odstupanje konzolu, balkon. Vrlo
duga a izuzetno uska markica poloena je niz teren,
otvarajui se prema jugoistoku a zatvarajui se prema
sjeverozapadu. Dualnost je naglaena jednovodnim
krovom s velikom strehom, koji je nagnut prema
unutranjem dvoritu, tako da asocira na podignuti kaket.
Svojom duinom zgrada se lagano prostire po terenu, s
jasnim horizontalnim podjelama i pojasevima neki
pripadaju zemlji a neki zraku. Kao to Heidegger tvrdi
kua se uvijek smjeta izmeu zemlje i neba. Otud ta
loginost tripartitne podjele. Stanovi su tlocrtno
prilagoeni tritu za nii razred. Vrlo usku zadanu irinu
zgrade, koja je bila samo 11 metara, pretvorili su u
prednost tipski stanovi imaju dnevni boravak obostrano
orijentiran.
Stambena zgrada
Residential
building
Arhitekti/Architects: Amir Vuk Saradnici/Collaborators: Elvedin Bei, Tihomir Krajtmajer Lokacija/Location: ip, Sarajevo Godina/Year:
2005-2006. Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: Zavod za izgradnju kantona
Sarajevo/Canton Development Institute BGP objekta/GBA: 1.800 m
186 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Limitation as inspiration
Limitations are indeed sometimes an architects greatest
inspiration. Here, the constraint was the urban footprint (the
infamous planning restrictions), which in outline reminds
one of a golf club. Within these dimensions, and without the
right to use such devices as balconies or cantilevers, the
long, very narrow footprint runs downhill, open to the south-
east, closed off to the north-west. The dualism is accentuated
by a pent roof with a wide eave sloping down towards the
inner courtyard, evoking a raised peaked cap. The length of
the building rests easily on the site, with clear horizontal
articulations and registers, some earthbound, others
airborne. As Heidegger puts it, we always locate our houses
between earth and heaven; hence the logic of the tripartite
division. The flats have been designed for the lower end of
the market. The very narrow, pre-determined width of the
building, a mere eleven metres, has been turned to
advantage: the living room of a typical flat enjoys a dual
aspect.
IN BIH 1995-2010 187
P R I VAT N O S T P R I VACY
Kolektivno stanovanje
Multi-occupancy housing
Sutina koncepta je da kua ima svoju erotinost, jer je,
kao i kod svake istone filozofije, odgovor unutra, u
samom ovjeku. U ovjeku je da ode u ovaj objekt i shvati
poruku da sutinu ove kue ne ini fasada nego nutrina.
Ovo je kua JEDNE fasade, izgraena uz sam rub plonika,
uz tramvajsku prugu. U zgradu irine 8 m i dubine 32 m
trebalo je upakovati/setovati 1.000 m2 povrine Turskog
kulturnog centra. S lijeve strane poinju austrougarski
ulini objekti, s desne strane su troni, nedefinirani
objekti. To je tipina heterogena urbana situacija u
Sarajevu u okviru granica obuhvata zatiene zone
regulacionog plana. Ono to zakonom nije dozvoljeno
ovdje se moralo potovati. To je uslovilo zastakljenu
avliju, koja je posluila kao veza izmeu novog objekta i
prednje male kue (embriona), jer je spratnost bila
uslovljena regulacionim planom. S desne strane je sokak
(uliica). Tipina urbana sekvenca Sarajeva iz sokaka u
avliju, iz uskog prostora u irinu unutranjeg, pa onda u
kuu. To je dramatizacija ili teatralnost ovog prostora.
Nakon avlije, zastakljenog unutranjeg dvorita, slijedi
korpus galerija spratova, kulminirajui polusvodnom
kafe-ajdinicom u kojoj se doslovno sjedi i pije aj nad
krovovima. Na prvoj etai prve kue inscenirana je tipina
turska soba. To je onaj dominatni doksat uline fasade
koji predstavlja najjai i najizraajniji elemenat turske
otomanske arhitekture.
The essence of this concept is that the house has its own
eroticism for, like every eastern philosophy, the answer lies
within us. It is up to us to enter the building and understand
that the essence of this house is not the faade but the
interior. The Turkish Cultural Centre is a building with just
one faade, right next to the pavement, beside the tram line.
The site that had to accommodate the 1,000 m2 building is a
mere eight metres wide and 32 metres deep. To the left, the
street is lined with Austro-Hungarian buildings; to the right
are dilapidated buildings of indeterminate character: a
heterogeneous streetscape typical of Sarajevo within the
protected zone defined by the master plan for the arija.
What our laws prohibit had to be respected here. This
prompted the design of a glazed inner courtyard forming a
link between the small building (the embryo) to the front, of
which the number of storeys was dictated by planning
regulations. To the right is a sokak a narrow side street. A
typical feature of Sarajevo is the movement from the sokak to
the avlija from the narrow side street to the spacious
courtyard, and thence into the house. This is the
dramatization or theatricality of this space. Beyond the
glazed inner courtyard, the first floor consists of galleries,
culminating in a barrel-vaulted caf-tea house where one
literally sits and sips ones tea above the roofs. A typical
Turkish room was created, or rather staged, on the first floor
of the first house, set in the doksat or jutty, the most striking
element of Ottoman Turkish architecture, which here
dominates and indeed constitutes the street front.

Stambena zgrada
Bolgrano
Bolgrano
residential
building

Arhitekti/Architects: Kenan Hadovi Saradnici/Collaborators: Nadira Kuljuh, Emina Zeljkovi Lokacija/Location: Sarajevo Godina/Year:
2007-2009. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Bolgrano d.o.o Sarajevo BGP
objekta/GBA: 5.437 m Fotograf/Photographer: Kenan Hadovi

188 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 189

D Apstrakcija drutva deava se kad se ljudi okupe i dijele prostor. U
Bosni i Hercegovini, gdje drutvo mora pronai novu ravnoteu nakon
dislokacija koje je sobom donio rat, vidi se da poslijeratna obnova ima
i svoju pragmatinu i svoju simbolinu stranu. Pragmatinu, kako bi se
drutvo pridiglo na noge i ponovno krenulo; simbolinu, kako bi se
izrazio taj drutveni oporavak u javnom domenu.
Dok su simboli obnove esto u sreditu panje, vitalnost jednog drutva krije se u pragmatinoj obnovi.
Kao to su srednjoevropske zemlje same sebe iznova stvorile nakon pobuna do kojih je dolo poslije
1989. godine, isto to ini i poslijeratna Bosna i Hercegovina. To je prvo postalo vidljivo u relativno malim
manifestacijama privatne inicijative, poput benzinskih pumpi, prodavnica, kafia i restorana. Druga se
generacija javlja u vidu trgovakih centara i poslovnih zgrada koje zahtijevaju vee ulaganje i vie
vremena. Javna inicijativa itekako zaostaje a rezultat te injenice je da se javni ivot u Bosni i Hercegovini
prije moe definirati vie prema trgovakim centrima, nego prema bibliotekama. Ali, petnaest godina
nakon to je rat zavren, daju se vidjeti i prvi znaci jedne nove kulturalne infrastrukture. Konture jednog
novog graanskog drutva se ukazuju, nadopunjujui trino drutvo, to se vidi i po sporom ponovnom

Drutvo Society
otkrivanju javnog prostora i novih urbanih tipologija.

The abstraction of society occurs where people come together, share

space. In Bosnia and Herzegovina, where society must find a new
balance after the dislocations of a war, one can see that post-war
reconstruction has both a pragmatic and a symbolic side. Pragmatic, in
order to get society up and running again, symbolic, in order to
express that social recovery in the public domain.
While the symbols of reconstruction are often in the spotlight, it is in the pragmatic reconstruction that
one finds the vitality of a society. Just as the Central European countries had to reinvent themselves after
the post-1989 upheavals, so too in post-war Bosnia and Herzegovina. This first became visible in
relatively small-scale manifestations of private initiative, such as petrol stations, shops, cafes and
restaurants. The second generation takes the form of shopping malls and office buildings which require
greater investment and more time. Public initiative trails a good way behind, with the result that public
Drutvo / Society life in Bosnia and Herzegovina today may well be defined more by shopping centres than by libraries. But
fifteen years after the end of the war, the first signs of a new cultural infrastructure can be seen.
Complementing the market society, the contours of a new civil society are emerging, as also evidenced by
Kultura / Culture
the hesitant rediscovery of public space and new urban typologies.
Javni ivot / Public life

Javni prostor Planiranje/ Public

space Planning

190 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 191

 D
Drutvo Society

Kultura
Culture

59. Amir Vuk: Turski kulturni centar / Turkish

Cultural Centre, Sarajevo, 2003. 70

60. Ivan traus: Koncertna dvorana, Sarajevo,

1995. 71

61. Bernard Bostjani: Gradska biblioteka /

Public Library, Zenica, 2010. 72

62. Elma Durmievi: Kulturno-sportska

dvorana / Cultural and Sports Centre,
Mostar, 2011. 73

63. Lejla Kreevljakovi, Ela Turkui: kolski

kulturno-sportski centar Bistrik / Bistrik
school cultural and sports centre, Sarajevo,
2007. 74

64. Mihailo Lujak, Mladen Pei, Aleksandar

Kui: Centar za kulturu / Cultural Centre,
Bijeljina, 2007. 75

65. Mladen Jadri: Arhitektonski paviljon

Kua arhitekture i novo sjedite AAS-a i
AABiH-a / Architecture Pavilion 76

66. Mladen Jadri: Paviljon arhitekture

77

67. Saa Raenovi: SmART Sarajevo Museum

of Art, Sarajevo, 2006. 78

68. Lejla Kreevljakovi, Hajra Hela, Sead

Kreevljakovi: Akademija scenskih
umjetnosti / Academy of the Performing
Arts, Sarajevo, 2008. 79

69. Mladen Burazor, Nermina Zagora:

Akademija scenskih umjetnosti / Academy
of the Performing Arts, 2008. 80

70. Relja Ferui, Nagore Linares, Daniel

Monheim: Akademija scenskih umjetnosti /
Academy of the Performing Arts, Sarajevo
2008. 81

71. Jonus Ademovi: Akademija scenskih

umjetnosti / Academy of the Performing
Arts, Sarajevo, 2008. 82

192 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 193

DRUTVO SOCIETY Sutina koncepta je da kua ima svoju erotinost, jer je,
kao i kod svake istone filozofije, odgovor unutra, u
Kultura Culture samom ovjeku. U ovjeku je da ode u ovaj objekt i shvati
poruku da sutinu ove kue ne ini fasada nego nutrina.
Ovo je kua JEDNE fasade, izgraena uz sam rub plonika,
uz tramvajsku prugu. U zgradu irine 8 m i dubine 32 m
trebalo je upakovati/setovati 1.000 m2 povrine Turskog
kulturnog centra. S lijeve strane poinju austrougarski
ulini objekti, s desne strane su troni, nedefinirani
objekti. To je tipina heterogena urbana situacija u
Sarajevu u okviru granica obuhvata zatiene zone
regulacionog plana. Ono to zakonom nije dozvoljeno
ovdje se moralo potovati. To je uslovilo zastakljenu
avliju, koja je posluila kao veza izmeu novog objekta i
prednje male kue (embriona), jer je spratnost bila
uslovljena regulacionim planom. S desne strane je sokak
(uliica). Tipina urbana sekvenca Sarajeva iz sokaka u
avliju, iz uskog prostora u irinu unutranjeg, pa onda u
kuu. To je dramatizacija ili teatralnost ovog prostora.
Nakon avlije, zastakljenog unutranjeg dvorita, slijedi
korpus galerija spratova, kulminirajui polusvodnom
kafe-ajdinicom u kojoj se doslovno sjedi i pije aj nad
krovovima. Na prvoj etai prve kue inscenirana je tipina
turska soba. To je onaj dominatni doksat uline fasade
koji predstavlja najjai i najizraajniji elemenat turske
otomanske arhitekture.
Turski kulturni
centar
Turkish Cultural
Centre
Arhitekti/Architects: Amir Vuk Saradnici/Collaborators: Lada Maglajli, Emir Halilagi Lokacija/Location: Sarajevo Godina/Year: 2000-
2003 Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: Turska ambasada/Turkish EmbassyTourist
Association of Bosnia and Herzegovina BGP objekta/GBA: 1.000 m
194 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The essence of this concept is that the house has its own
eroticism for, like every eastern philosophy, the answer lies
within us. It is up to us to enter the building and understand
that the essence of this house is not the faade but the
interior. The Turkish Cultural Centre is a building with just
one faade, right next to the pavement, beside the tram line.
The site that had to accommodate the 1,000 m2 building is a
mere eight metres wide and 32 metres deep. To the left, the
street is lined with Austro-Hungarian buildings; to the right
are dilapidated buildings of indeterminate character: a
heterogeneous streetscape typical of Sarajevo within the
protected zone defined by the master plan for the arija.
What our laws prohibit had to be respected here. This
prompted the design of a glazed inner courtyard forming a
link between the small building (the embryo) to the front, of
which the number of storeys was dictated by planning
regulations. To the right is a sokak a narrow side street. A
typical feature of Sarajevo is the movement from the sokak to
the avlija from the narrow side street to the spacious
courtyard, and thence into the house. This is the
dramatization or theatricality of this space. Beyond the
glazed inner courtyard, the first floor consists of galleries,
culminating in a barrel-vaulted caf-tea house where one
literally sits and sips ones tea above the roofs. A typical
Turkish room was created, or rather staged, on the first floor
of the first house, set in the doksat or jutty, the most striking
element of Ottoman Turkish architecture, which here
dominates and indeed constitutes the street front
IN BIH 1995-2010 195
DRUTVO SOCIETY Da bi se pokrenula inicijativa za projektiranje i izgradnju
suvremene koncertne dvorane u Sarajevu, kakva
Kultura Culture nedostaje i pored vrlo razvijenog muzikog ivota u
gradu, uraena je programska skica kao neophodan prvi
korak u slijedu aktivnosti do njene realizacije. Lokacija je
bila idealna, u sreditu grada, izmeu ulice Marala Tita i
ulice S.S. Kranjevia prostor stare vojne bolnice iz
otomanskog perioda vladanja Bosnom u derutnom stanju
s dovoljno povrine za povoljan pristup posjetilaca i
tehniki pristup tansportnim vozilima. Suvremenim
graditeljskim postupcima postigla bi se apsolutna zvuna
izolacija unutranjeg prostora i pored buke na
frekventnim prometnicama u okruenju.Oekivano
razumijevanje drutvenih i politikih struktura je izostalo,
nije dat negativan odgovor, ali je po oprobanom i
efikasnom receptu za odugovlaenje rjeenja problema
raspisan internacionalni natjeaj s prethodnom izradom
programa i uvjeta, imenovan internacionalni ocjenjivaki
sud, izvreno iriranje, odabrana najbolja arhitektonska
ideja, koja je prezentirana javnosti i medijima uz mnogo
lijepih rijei o rezultatu natjeaja i spremnosti vladajuih
struktura da se ideja i realizira. Zato e Sarajevo za dugi
niz godina ostati jedini glavni grad u regionu ex-
Jugoslavije i ire bez funkcionalne koncertne dvorane po
europskim standardima.
Koncertna
dvorana
Concert hall
Arhitekti/Architects: Ivan traus Saradnici/Collaborators: Branka Kaminski Lokacija/Location: Sarajevo Godina/Year: 1995. Tip/Type:
programska skica/program draft Investicija/Investment: javna/public Klijent/Client: Narodno pozorite Sarajevo/National Theatre
Sarajevo BGP objekta/GBA: 18.312 m
196 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The essential first step in designing and building a modern
concert hall in Sarajevo, which is still lacking despite the
citys advanced musical culture, was to develop an outline
proposal.
The site is ideal, in the heart of the city between Marshal
Tito Street and S. S. Kranjevi Street, where the military
hospital stood in Ottoman times before falling into a state of
dereliction; it is large enough to provide easy access for
visitors as well as for goods vehicles.State-of-the-art building
techniques would ensure a fully sound-proofed interior
despite the noise from the streets on either side.The
expected social and political response was lacking; not that
the idea was turned down, but rather that the tried and
tested prescription of stalling was applied an international
competition was announced after drawing up the programme
and terms of reference, an international jury was appointed,
the entries were judged, the winning architectural idea was
selected and presented to the public and the media with an
abundance of fine words about the outcome of the
competition and the authorities intention to turn the idea
into reality. Sarajevo will thus remain for years to come the
only capital city in ex Yugoslavia without a functional concert
hall designed to European standards.
IN BIH 1995-2010 197
DRUTVO SOCIETY Ideja oblikovanja gradske biblioteke proistekla je iz polica
s knjigama koje su svezane mreom i tako uvane kroz
Kultura Culture istoriju. Simboliki predstavlja periskop podmornice s
pogledom iznad povrine sadanjosti prema budunosti.
Osnovni koncept je stvaranje edukacionog centra u kome
e se napraviti spoj klasinog prostora s knjigama i
tehnolokog prostora, svojstvenog naunim ustanovama.
S obzirom na otvorenost i multifunkcionalnost prostora,
biblioteka e biti pogodna za odravanje i drugih
kulturnih i naunih aktivnosti. Sa stanovita koritenja
zamiljena je kao sofisticirani objekt u kome bi se osim
knjiga iznajmljivali i filmovi, muzika i slike. U potpunosti
je kompjuterizovana, tako da omoguuje interaktivnu
komunikaciju korisnika. Nalazi se u centru grada, uz
Bulevar i rijeku Bosnu, i razumijevanje ukupnog konteksta
prostora i lokacije koja je ini posebnom polazina je
taka u projektovanju prostora. Zenica, nekada grad
industrije, nalazi se u novom razvojnom ciklusu i mora
nai neto svoje po emu e biti prepoznatljiva. To e
ljudima omoguiti bolje snalaenje prilikom kretanja,
naglasiti mjesto na kom se nalazi i doprinijeti osobenosti
lokacije koja je trenutno praznina izmeu City centra
Metalurg i zgrade Gimnazije. Projektovana je po principu
samoodrive arhitekture, u skladu s principima utede
energije, i po svemu bi trebala doprinijeti uspjenom
razvoju Zenice, ouvanju njenih urbanih i ekolokih
vrijednosti te unaprijediti urbanu kulturu ivljenja.
Gradska
biblioteka
Public Library
Arhitekti/Architects: Studio Stub Bernard Bostjani Saradnici/Collaborators: Sanel eljo Lokacija/Location: Zenica Godina/Year:
2009-2010. Tip/Type: ugovor/commision Investicija/Investment: javna/public Klijent/Client: Opina Zenica/Zenica Municipality
BGP objekta/GBA: 6.000 m 3D rendering: Sanel eljo
198 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The design of the library was inspired by the shelves of
books, which throughout history have been linked by a grid.
It is a symbolic periscope, enabling us to peer above the
surface of the present into the future.
The aim of the new library is to create an education centre
combining the classic shelves of books and a high-tech space
of the kind typical of scientific institutions. The public,
multifunctional nature of the space also makes the library
suitable for other cultural and scientific activities. From the
users perspective, the library is a sophisticated facility where
one can not only borrow books but also rent films, music and
images. The library is fully computerized to provide
interactive communication with its users.The library is
located in the town centre, by the Boulevard and the River
Bosna. Understanding the overall context of space and
location and what distinguishes it is the starting-point for
designing a space. Zenica, formerly an industrial city, is in
the midst of a new cycle of development, and needs to find a
point of reference that will make it easier for people to find
their way around, highlighting the particularity of a place
that is currently an empty space between the City Centre
Metalurg and the grammar school. The library is designed to
be sustainable in line with the principles of energy
conservation, and should contribute to the development of
Zenica, the preservation of its urban and environmental
values, and the advancement of its urban lifestyle.
IN BIH 1995-2010 199
DRUTVO SOCIETY Kulturno-sportski centar Mostar smjeten je u centru
Mostara, na raskrsnici poslovne i stambene etvrti.
Kultura Culture
Uzevi u obzir centralnu poziciju ovog poslovno-
sportskog centra, bilo je bitno dizajnirati objekt koji nee
formirati barijeru u fizikom i programskom smislu, nego
e funkcionirati kao produetak javnog prostora. To je
osigurano putem transparentnih fasada i
multifunkcionalnog karaktera objekta. Sportska dvorana
je dizajnirana za etiri sporta: koarku, rukomet, mali
nogomet i odbojku (kapacitet tribina je 6.000 posjetilaca).
Osim za sportske, objekt je prikladan i za druge aktivnosti,
kao to su kulturne, poslovne i drutvene. U njemu se
nalazi prodajni prostor, restorani, kafei, fitnes i sauna
centri, diskoteka te parkig prostor kapaciteta 700 parking
mjesta. Kulturno-sportski centar Mostar je integrirao
brojne zelene aspekte dizajna, koji osiguravaju utedu u
energetskom smislu, kao i u odravanju objekta. Ovi
aspekti se mogu prepoznati kroz primjere kao to su:
geometrija krova na prednjoj fasadi, koja prati putanju
sunca u toku dana i spreava pregrijavanje prednje
staklene fasade, koritenje ureaja za razmjenu toplote i
slino. Zelenilo je takoer integrirano u javni prostor
preko sputenog vrta koji je okruen prodajnim
prostorima.
Kulturno-
sportska dvorana
Cultural and
Sports Centre
Arhitekti/Architects: 4D Architects Elma Durmievi Saradnici/Collaborators: Jan Brouwer, Jelle de Klerk, Taco Hilkama, Paul de Ruiter,
Jaap Widenhoff /ARUP/, Walter Spanenberg /ABT/ Lokacija/Location: Mostar Godina/Year: 2008-2012. Tip/Type: ugovor/commission
Investicija/Investment: javna/public Klijent/Client: Opina Mostar/Mostar Municipality BGP objekta/GBA: 12.900 m
200 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The cultural and sports centre in Mostar is in the city centre,
where the commercial and residential areas intersect.
Given its central location, it was important to design a
building that would not be a barrier either physically or
functionally, but would serve as an extension of the public
space. This has been achieved by the buildings transparent
faades and multifunctional character.
The sports hall is designed for four sports, basketball,
handball, indoor football and volleyball, and has a seating
capacity of 6,000. The building is also designed for cultural,
business and social activities, with retail premises,
restaurants, cafs, a fitness centre and sauna, a discotheque
and a garage with 700 parking spaces. The design
incorporates a number of green features to ensure energy
efficiency and minimum whole life span maintenance, among
them the shape of the roof, which echoes the path of the sun
to prevent the glass faade from overheating, and the use of
heat exchangers. Greenery has also been integrated into the
public space in the form of a sunken garden surrounded by
retail premises.
IN BIH 1995-2010 201
DRUTVO SOCIETY Ideja kolskog kulturno-sportskog centra zasnivala se i
razvila na potrebi da interpolacija nove strukture unutar
Kultura Culture specifinog konteksta Bistrika jedne od najvanijih
mahala historijske jezgre grada, bude opravdana ne
samo prostornom usklaenou s postojeim ambijentom
nego i programskom mogunou njegovog oivljavanja.
Nova struktura, kao dogradnja uz postojei kolski objekt,
na lokaciji nekadanjeg kolskog dvorita, prema uvjetima
javnog konkursa, trebala je nuditi samo sportsko-
komercijalne sadraje. Arhitekti su, meutim, ponudili
savremeni, polivalentni model za nekadanje domove
kulture generatore popularizacije kulturno-sportskih
aktivnosti i susreta stanovnika naselja. Objekt je realiziran
kao uglovnica sa etiri etae: podrum (sportsko-
rekreativni sadraji), suteren (ugostiteljski sadraji),
prizemlje i prvi sprat (kulturno-rekreativni sadraji), te
vanjsko igralite, koje ujedno ima i funkciju otvorene
ljetne scene. Gradacijom jednostavnih kubinih volumena
objekt se nadovezao na postojeu usitnjenu i gustu
izgradnju na padinama Bistrika. U materijalizaciji
vanjskog dijela objekta dominiraju drvo, staklo i bijeli
malter, dok u enterijeru dominira drvo kako bi se ostvario
to topliji i prirodniji ambijent. Staklena fasada suterena i
prizemlja svojom transparentnou omoguava
integriranje vanjskog i unutranjeg prostora, to zajedno s
otvorenom scenom provodi ideju stvaranja urbane
dinamike i oivljavanja ulica Bistrika.
kolski kulturno-
sportski centar
Bistrik
School cultural
and sports centre
Bistrik
Arhitekti/Architects: Lejla Kreevljakovi, Ela Turkui Saradnici/Collaborators: Sead Kreevljakovi Lokacija/Location: Sarajevo
Godina/Year: 2007. Tip/Type: natjeaj/competition Investicija/Investment: javna/public Klijent/Client: Osnovna kola Edhem
Mulabdi/Primary school Edhem Mulabdi BGP objekta/GBA: 2.082 m
202 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The idea for the school cultural and sports centre was based
on the need to ensure that infills in Bistrik, one of the major
residential quarters of the historic city centre, could be
justified not only by fitting in with but also by revitalizing
the existing townscape.
The terms of the open competition were that the new
building, an extension to an existing school to stand in the
former school yard, would be used for sports and commercial
purposes only. The architect`s solution to this problem is a
planning concept offering a modern, multi-purpose model for
what were once community centres a way of popularizing
cultural and sports activities and a meeting place for local
residents.The design is for a corner building on four levels:
an underground level with recreational and sports activities,
a lower ground floor refreshment area, and cultural and
recreational activities on the ground and first floors, with an
outdoor school yard on the roof of the underground sports
hall, also serving as an open-air stage. The simple cuboid
graded volumes of the building harmonize with the existing
small-scale, densely built-up slopes of Bistrik. The elevation
is dominated by wood, glass and white render, and the
interior is mainly wood, creating a warm, natural
environment. The glass faade of the lower ground and
ground floors bring the outdoors into the building; this,
together with the open-air stage, creates the desired urban
dynamism and enlivens the streets of Bistrik.
IN BIH 1995-2010 203
DRUTVO SOCIETY Reenje Centra za kulturu nastalo je u kontekstu budueg
prostornog odreenja centralne zone grada Bijeljine.
Kultura Culture Centralni gradski trg, na kome se nalazi predmetna
lokacija, predstavlja najznaajniji segment grada,
maksimum svih informacija o prostornosti grada.
Traei reenje za buduu siluetu centralnog gradskog
trga, autori su predvideli formiranje savremenog objekta
koji bi upotpunio sliku konkretnog prostora. Slobodan
prostor, transparentnost objekta prema centralnom trgu,
kao i formiranje scene grada, ine sutinu savremenog
objekta Centra za kulturu, koji je definisan na principima
transparentnosti prostora, uz nameru formiranja otvorene
scene kulturnog ivota grada. U cilju ostvarivanja
koncepta visoke frekvencije koritenja jasnom i
jednostavnom formom pokuava se privui irok spektar
korisnika.
Centar za kulturu
Cultural Centre
Arhitekti/Architects: Projekat Mihailo Lujak, Mladen Pei, Aleksandar Kui Lokacija/Location: Bijeljina Godina/Year: 2007. Tip/Type:
natjeaj/competition Investicija/Investment: javna/public Klijent/Client: Grad Bijeljina/City of Bijeljina BGP objekta/GBA: 2.150 m
3D model: Aleksandar Kui
204 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The design for the Cultural Centre is part of the forthcoming
spatial planning of Bijeljina town centre. The main town
square, where the building is to stand, is the heart of the
town and informs its layout.
In their quest for a design for the future silhouette of the
main square, the architects envisaged a contemporary
building to complement the existing townscape. The
building is open towards the square, a feature that,
combined with open space, is intended to define the
townscape. The Cultural Centre is essentially an open-air
stage for the towns cultural life. Its clear, simple form is
designed to attract a wide range of visitors to ensure that it
is used to the full.
IN BIH 1995-2010 205
DRUTVO SOCIETY Oblik arhitektonskog paviljona podreen je i determiniran
pravom na pogled, vjerojatno najvanijem, najvrjednijem
Kultura Culture i najpoznatijem pravilu o graenju, uzdignutom u
Sarajevu na nivo zakona koji kako tradicionalna tako i
itava moderna arhitektura prologa stoljea koristi kao
svoj credo. Izbor pozicije objekta poziv je na povratak
grada rijeci.
Topografija objekta ponavlja topografiju vertikalnog i
horizontalnog krajolika i prua pogled u visinu prema
Alifakovcu, Trebeviu, zajedniku igru prirode i
arhitekture bez arhitekata, toliko specifinu za Sarajevo
[Vertikalni grad]. Horizontalni grad otvara se prema rijeci
Miljacki i sarajevskoj kotlini. Svi otvori objekta su ujedno i
izloba ivih fotografija grada. Kompletna
infrastruktura paviljona smjetena je u jednu vrstu
moderne musandere. Enterijer objekta nudi potpuno
slobodan i fleksibilan prostor za mnogobrojne upotrebne
varijante.
The design of the architecture pavilion is dictated by the
right to a view, probably the most significant design principle
shaping traditional Bosnian architecture, made law in
Sarajevo, and adopted by the modernist architecture of the
20th century as its credo. The choice of site is an invitation
to the city to refocus on the river.
The topography of the pavilion reproduces the vertical and
horizontal lines of the landscape and provides a view up
towards Alifakovac and Mt Trebevi, taking advantage of the
interplay between nature and the vernacular architecture
without architects so typical of the Sarajevo cityscape, and
down towards the River Miljacka and the Sarajevo basin.The
windows are also showcases for the living photographs of
the city. The entire infrastructure of the pavilion is housed in
a modern interpretation of the traditional musandera (range
of built-in cupboards). The interior is an empty space flexible
enough to use for a wide variety of purposes.

Arhitektonski
paviljon Kua
arhitekture i novo
sjedite ASAS-a i
AABiH-a
Architecture
Pavilion

Arhitekti/Architects: Mladen Jadri Saradnici/Collaborators: Ewald Pachler, Daniel Marin, Polina Petrova, Mitra Pourazim, Zuzana
Nagelova, Clemens Hausch Lokacija/Location: Bentbaa, Sarajevo Godina/Year: 2004. Tip/Type: ugovor/commission
Investicija/Investment: javna/public Klijent/Client: ASAS (Asocijacija arhitekata Sarajevo), AABiH (Asocijacija arhitekata Bosne i
Hercegovine) i Kanton Sarajevo / ASAS (Sarajevo Association of Architects), AABH (B&H Association of Architects) and Sarajevo Canton
BGP objekta/GBA: 300 m 3D rendering: Mladen Jadri

206 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 207

DRUTVO SOCIETY Oblik paviljona uspostavlja oblikovni dijalog izmeu
prolosti i sadanjosti i simbolizira jedinstvo i stabilnost
Kultura Culture zajednice. Prvobitno izgraena za potrebe Olimpijskih
igara 1984. godine, Austrijska kua godinama je bila
popularni izlobeni prostor Asocijacije arhitekata
Sarajeva.
Poslije destrukcije u toku rata, AAS i AABiH, uz pomo
Kantona Sarajevo, pokuali su vratiti sjedite i obnoviti
svoje aktivnosti na mjestu sruenog objekta. Crna boja
eksterijera i bijela boja unutranjosti naglaavaju
neutralnost objekta i njegovu pretenziju da se ne namee
ni svojoj okolici ni sadraju. Granica zatvorenog i
otvorenog prostora pomou velike staklene fasade je
fluidna. Postojea pjeaka staza prolazila bi direktno kroz
kuu arhitekture i dijelila izlobeni dio od
administrativnog. Objekt bi trebao biti primjeran u svojoj
ekolokoj i energetskoj izvedbi i ulozi.
The shape of the building is a dialogue between the past
and the present, symbolizing the unity and stability of the
community. Originally built as the Austrian pavilion for the
1984 Winter Olympic Games, Austria House became home to
the Sarajevo Association of Architects after the Olympics.
Following its destruction during the 1992-1995 war,
Sarajevos architects have been trying to rebuild Austria
House as their home base. The black exterior and white
interior accentuate the buildings unobtrusive, abstract form.
The large glass faade ensures that the boundary between
indoors and outdoors remains fluid. The existing path
running through the House of Architecture, forming the main
entrance to the building, separates the exhibition space from
the offices.
The building incorporates up-to-date standards of
environmental protection and passive design measures.

Paviljon
arhitekture
The house of
Architecture
exhibition
Pavilion

Arhitekti/Architects: Mladen Jadri Saradnici/Collaborators: Wilhelm Schnbal, Maurizzio Andreoli, Martin Moser, Fuad Sali
Lokacija/Location: biva Austrijska kua/former Austria House, Sarajevo Godina/Year: 2005. Tip/Type: ugovor/commission
Investicija/Investment: javna/public Klijent/Client: Asocijacija arhitekata Sarajevo (ASAS), Kanton Sarajevo / Sarajevo Association of
Architects, Sarajevo Canton BGP objekta/GBA: 300 m2 3D rendering: Mladen Jadri

208 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 209

DRUTVO SOCIETY SmART je mjesto gdje ovjek moe pobjei iz svakidanje
gradske guve, a ujedno i dom za impresivnu kolekciju
Kultura Culture radova moderne umjetnosti u Sarajevu. Nalazi se na
Vidikovcu, sjeveroistono od Sarajeva, gdje se prije rata
ilo na izlete i u etnje, a koji je sada pokriven hiljadama
mina. SmART treba da vrati Vidikovac gradu.
Dualizam - Vana poetna taka u projektu SmART je
bosanska kua. Ona mnogo govori o ljudskom
potovanju prirode, o pravu na pogled i privatnost. Njene
osnovne osobine su povezani prostori, rute i tipini
kontrasti, kao to su visoko prema niskom, unutranje
prema vanjskom, svjetlo naspram mraka. SmART je i sam
pun ovih kontrasta. Vanjska ruta je zamjena za etnju kroz
nedostupanu prirodu. Unutranju rutu formiraju
povezane muzejske sale, od kojih svaka ima osebujan
karakter, upad svjetlosti i proporcije. Razliite visine u
objektu izazivaju osjeaj pritisnutosti, a ponekad osjeaj
otvorenosti. Kontrast izmeu mranog i svijetlog,
otvorenog i zatvorenog je u srcu objekta, gdje mrani i
uski pasai prelaze na suncem okupanu krovnu terasu.
SmART prua utoite umjetnosti, a ujedno je sinonim za
nedostupnu prirodu, koja se moe samo namirisati i
vidjeti, ponekad uokvirenu, pa izgleda ba kao slika.
SmART
Sarajevo Museum
of Art
Arhitekti/Architects: Saa Raenovi Saradnici/Collaborators: Vibeke Gieskes, Jeroen Bergsma, Monika Pieroth, Omar Lokacija/Location:
Vidikovac/Trebevi, Sarajevo Godina/Year: 2005. Tip/Type: ideja/idea BGP objekta/GBA: 912 m2
210 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
SmART is a place of refuge from the pressures of city life, and
home to an impressive collection of modern art in Sarajevo.
It is located on Mt Vidikovac, north-east of Sarajevo, a
favourite place to go for walks or have a picnic before the
war, one of the positions from which the city was held under
siege, and now contaminated with thousands of land mines.
SmART is intended to restore Vidikovac to the city.
Dualism -The Bosnian house, which reveals much about
peoples respect for nature, the right to a view and privacy,
was an important starting-point for the design of SmART.
The basic features of the Bosnian house are its
interconnecting rooms and its striking contrasts between
high and low, indoors and outdoors, light and dark, contrasts
shared by SmART. SmART has its own outdoor mountain
walk, a substitute for walks through the surrounding
countryside, still off limits, and an indoor route through the
interconnecting museum rooms, each of which has its own
character, light levels and proportions. The differing ceiling
heights provide a contrast between low-ceilinged rooms that
almost feel oppressive and high-ceilinged ones with their
sense of open space. The contrast between light and dark,
open and closed is at the heart of the building, with narrow,
dark passageways emerging onto roof terraces bathed in
sunlight. SmART is a sanctuary for art and a synonym for a
landscape that can be seen, whose aromas and fragrances
can be breathed in, but which remains out of bounds, in
places framed as though it were only a picture.
IN BIH 1995-2010 211
DRUTVO SOCIETY Realizacija projektnog programa unutar zadatih
parametara bila je izazov konkursnog zadatka za zgradu
Kultura Culture Akademije scenskih umjetnosti. Zadatak je ve obilovao
kompromisima: obimni projektni program reduciran je u
odnosu na potrebe, a zadata graevinska linija objekta u
prizemlju ugroavala je vanu pjeaku komunikaciju od
sutinskog znaaja za revitalizaciju jednog haotinog,
beivotnog i nedostupnog gradskog prostora.
Rjeenje je jasno podvuklo kontradikciju izmeu
programa i mogunosti parcele, negirajui zadatu
graevinsku liniju. Objekt gornjim etaama zadire u
prostor Skenderije dijelom koji se moe graditi naknadno.
Zauzvrat, volumenom se prilagoava okolini, a svoje
prizemlje radikalno smanjuje i nudi javnom prostoru.
Izmeu akademije, damije i zgrade Evropske komisije
stvoren je trg, povezan s javnim prostorom platoa
Skenderije. Dodatnom povrinom unaprijeene su sve
cjeline, izbjeglo se hibridno saimanje, omoguilo
paralelno javno i interno koritenje, te izdavanje prostora.
Kako se sluiti kompromisom a ne kompromitirati se?,
pitanje je iz konkursnog zadatka preteklo u projektiranje i
arhitekturu. Dok se Akademija scenskih umjetnosti
miljenjem i radom desetljeima izdie iznad ovog
pitanja, ovim rjeenjem se nastojalo ukazati na
mogunost da grad uini isto.
Akademija
scenskih
umjetnosti
Academy of the
Performing Arts
Arhitekti/Architects: Lejla Kreevljakovi, Hajra Hela, Sead Kreevljakovi Lokacija/Location: Sarajevo Godina/Year: 2008. Tip/Type:
natjeaj/competition Investicija/Investment: javna/public Klijent/Client: Zavod za izgradnju Kantona Sarajevo/Canton Development
Institute BGP objekta/GBA: 6.832 m2
212 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The challenge of the competition terms of reference was to
design a building for the Academy of the Performing Arts to
meet the specifications.However, the brief was already beset
by compromises: the large-scale design programme was cut
back in relation to the needs, and the building line at
ground-floor level would block a major pedestrian way that
is essential to the revival of a chaotic, lifeless and
inaccessible urban area.
The design underlines the contradiction between the terms
of reference and the potential of the site, by disregarding the
prescribed building line. The upper storeys of the building
overhang Skenderija where a later extension can be built,
which is compensated for by fitting the bulk of the building
into the surroundings and greatly reducing the ground floor
to provide an open space. A square is created between the
Academy, a mosque and the European Commission building,
opening onto the main Skenderija forecourt. This additional
space enhances the buildings functionality and avoids
contraction by hybridization, thus facilitating the use of the
site by both the public and the client, as well as making
provision for subletting.
The question that was transposed from the brief into the
design and the architecture was how to make use of
compromise without compromising oneself. For decades the
Academy of the Performing Arts has risen above the question
in its thinking and its work; this design is intended to
suggest that the city also does so.
IN BIH 1995-2010 213
DRUTVO SOCIETY Koncept konkursnog rada poiva na sljedeim premisama:
skuena lokacija, funkcionalno-racionalna realizacija
Kultura Culture programskog sadraja, oblikovanje kroz autorsko
opredjeljenje da na uzdrljiv a dostojanstven nain ispolji
akumuliranu stvaralaku energiju unutranjeg sadraja
kroz odmjerenu prostorno-plastinu ekspresiju enterijera.
Objekt Akademije scenskih umjetnosti treba da udomi
funkcije edukacije i produkcije scenskih umjetnosti. Iz
vanjskog aspekta ovakvog objekta trebaju da se jasno
itaju dostojanstvo, savremenost i avangarda. Medij je
ono to diferencira vizuelne od scenskih umjetnosti. Bitne
karakteristike scenskih umjetnosti su u vremenskoj
komponenti i ekspresiji kroz pokret. Pokret je iz ove
perspektive poput dima: mistian, provokativan i
neuhvatljiv. Koncept oblikovanja predloenog rjeenja
simulira dinamiku i unutranju energiju koja e biti
generirana unutar objekta Akademije. Reprezentacija
kretanja, kroz irenje dima kroz zrak, bila je osnova za
oblikovanje eksterijera. Fasada je vanjska ekspresija
kretanja i unutranje stvaralake energije Akademije
scenskih umjetnosti. Dekompozicijom pokreta na
sekvence i razlaganjem njegovog materijalnog subjekta
dobivena je rezultanta koja je inkorporirana u oblikovno
rjeenje.
Akademija
scenskih
umjetnosti
Academy of the
Performing Arts
Arhitekti/Architects: Mladen Burazor, Nermina Zagora Lokacija/Location: Sarajevo Godina/Year: 2008. Tip/Type: natjeaj/competition
Investicija/Investment: javna/public Klijent/Client: Zavod za izgradnju Kantona Sarajevo/Canton Development Institute
BGP objekta/GBA: 5.535 m2
214 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The concept of this competition entry is based on the
following premises: the cramped site, a rational allocation of
space, and the intention to design a building the exterior of
which would express the cumulative creative energy of the
institution it is to house in a restrained, dignified manner.
The Academy of the Performing Arts building should house
the educational and production aspects of the performing
arts. Dignity, modernism and avant-gardism should be easily
recognizable in its outward appearance.The medium is what
distinguishes the visual from the performing arts. The key
features of the performing arts are the time component and
expression in movement. From this perspective, movement is
like smoke: mystical, provocative and elusive.The proposed
design simulates the dynamic and internal energy that will
be generated inside the Academy building.The
representation of movement in the way smoke wafts through
the air was the basis for the design of the exterior. The
faade is the outward expression of movement and of the
inner creative energy of the Academy of the Performing
Arts.The deconstruction of movement into its sequences and
the dissolution of the physical subject generate a result that
has been incorporated into the design.
IN BIH 1995-2010 215
DRUTVO SOCIETY Koncept budueg objekta Akademije scenskih umjetnosti
kreiran je kroz etiri principa: redefiniranje granica
Kultura Culture projekta, redefiniranje odnosa objekt prostor i odnosa
omota sadraj, rukovodei se svjetlom kao pokretaem
cirkulacije. Redefiniranje granica. Djelovanje u
kompleksnoj urbanoj sredini podrazumijeva integriranje
mnotva vektora koji presijecaju urbano tkivo: Derridina
diffr(a)nce, koja od grada ini metrpolis. Rije je o
rubnom prostoru, meuprostoru u kojem scenske
umjetnosti trebaju pretvoriti svoju granicu u poroznu
membranu. Cilj je staviti s druge strane Hegelovog
limita jedan glas koji nas poziva da ga preemo. Sjetit
emo se tog iskustva i vratit emo se transformirani njime
kao u Lost Highwayu Davida Lincha, provocirajui u
nama nemir ogranienja, onaj Vrtigo Alfreda Hitchcocka
po teoriji Eugenija Triasa u Lo Bello y Lo Siniestro.
Redefiniranje relacije objekt prostor. Zgrada se savija i
nabira, da bi primila program Akademije, kao jezgrovita
struktura na pola puta izmeu prostora i objekta, gradei
trodimenzionalnu geometriju koja stapa aspekte
unutranje-vanjsko, javno-privatno. Redefiniranje relacije
omota sadraj. Objekt se prikazuje gradu svojim dvjema
egzibicionistikim fasadama, stvarajui dvosmjernu
relaciju, gdje se grad pretvara u gledaoca scenskih
umjetnosti, a glumci se pretvaraju u gledaoce
svakodnevnih gradskih scena. Svjetlo kao pokreta
cirkulacije. Jedan otvor na krovnoj povrini uvodi svjetlo
na sve nivoe zgrade, dinamizirajui unutranja kretanja i
razbijajui klastere kompleksnog arhitektonskog
programa.
Akademija
scenskih
umjetnosti
Academy of the
Performing Arts
Arhitekti/Architects: Relja Ferui, Nagore Linares, Daniel Monheim Lokacija/Location: Sarajevo Godina/Year: 2008. Tip/Type:
natjeaj/competition Investicija/Investment: javna/public Klijent/Client: Zavod za izgradnju Kantona Sarajevo/Canton Development
Institute BGP objekta/GBA: 5.000 m2
216 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The design for the Academy of the Performing Arts is based
on four principles: redefining the limits of design, the
relation between the building and space and between the
container and its contents, and on managing light as the
activator of movement. Redefining the limits. Working in a
complex urban setting involves integrating a number of
vectors criss-crossing the urban fabric: Derridas diffrance
that turns a city into a metropolis. It is a marginal space, in
which the performing arts make the boundaries porous. The
aim is to place a voice beyond the Hegelian limit, inviting
us to cross over. We shall remember the experience,
returning transformed, as in David Lynchs Lost Highway,
arousing in us the restlessness of limitations, the Vertigo of
Alfred Hitchcock according to Eugenio Trias in Lo Bello y lo
Siniestro.Redefining the building-space relationship. The
building curves and contracts to receive the Academys
programme, like a compact structure midway between space
and building, forming a three-dimensional geometry merging
indoors and outdoors, public and private.Redefining the
container-content relationship. The building presents two
exhibitionist faades to the city, creating a two-way
relationship in which the city becomes the audience of the
performing arts and the actors the audience of the day-to-
day life of the city. Light as the activator of movement. A
skylight lets light into the building down through every level,
activating movement and breaking up the clusters of a
complex architectural design.
IN BIH 1995-2010 217
DRUTVO SOCIETY Konkursni program zahtijevao je kompleksnu obrazovnu
instituciju ija osnova u potpunosti pokriva veoma usku
Kultura Culture lokaciju u gusto naseljenom urbanom sreditu.
Objekt sadri sve nastavne programe u okviru ASU-a, ali i
javni teatar i polujavni TV studio. Umjesto konvencionalne
podjele Akademije po odsjecima, izvrena je podjela
prostorija unutar odsjeka na one koje zahtijevaju prirodnu
svjetlost i one koje djeluju kao tamne sobe i zahtijevaju
dodatnu zvunu izolaciju. Ovakva podjela dovela je do
koncepta objekta podijeljenog po vertikali na tri cjeline,
polazei od tamnih, preko polutamnih do i svijetlih
prostora. Na ovaj nain stvoreni su uslovi za
interdisciplinarnu umjetniku produkciju. Cijeli objekt
proima sistem rampi koje u neprekidnoj putanji povezuju
sve prostore unutar objekta, kao i javne sadraje u
prizemlju i teatar na otvorenom, koji se nalazi na krovu
objekta. Sve scenske umjetnosti u svom temelju sadre
kontradiktornost izmeu insularnog i introvertnog naina
same umjetnike produkcije i ekstrovertnosti njenog
prezentiranja u javnosti. Zgrada ASU-a mora biti otvorena
javnosti prema svom prostornom okruenju, ali
istovremeno mora omoguiti prostor za izolirano
umjetniko stvaranje. Ovaj projekt pokuava u
prostornom i formalnom smislu iskazati i razrijeiti ovu
temeljnu kontradiktornost.
Akademija
scenskih
umjetnosti
Academy of the
Performing Arts
Arhitekti/Architects: ARCHIPELAGOS -Jonus Ademovi Saradnici/Collaborators: Manca Ahlin, Ekaterini Maria Konidari, Chris Athanasiou
Lokacija/Location: Skenderija, Sarajevo Godina/Year: 2008. Tip/Type: natjeaj/competition Investicija/Investment: javna/public
Klijent/Client: Zavod za izgradnju Kantona Sarajevo/Canton Development Institute BGP objekta/GBA: 4.607 m2
190 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The competition brief was for a complex educational facility
to occupy the whole of a very cramped site within the
densely built-up urban centre.
The building will house all the Academys teaching
departments as well as a public theatre and a semi-public
television studio. Instead of the conventional division into
departments, the rooms have been grouped within each
department into those requiring natural light and those
serving as dark rooms needing extra sound-proofing. This
led to the idea of dividing the building vertically into three
sections, with a progression from dark to half-lit to well-lit
spaces, thereby creating a setting suitable for inter-
disciplinary artistic production. The entire building is criss-
crossed with a continuous system of ramps linking all these
various premises as well as the public spaces on the ground
floor and the open-air theatre on the roof.Fundamental to all
the performing arts is the contradiction between the insular,
introverted mode of artistic production and the extrovert
nature of the performance. The Academy building has to be
open to the public and to its urban setting, but also provide
space for private artistic creation. The building is an attempt
to express and resolve this fundamental contradiction in
space and form.
IN BIH 1995-2010 191
 D
Drutvo Society
Javni ivot
Public life

72.

73.

74.
Sead Golo: Benzinska pumpa Selex / Selex
Petrol Station, 2000.

Sead Golo: Benzinska pumpa Muji / Muji

Petrol Station,1998. 84

Vesna Halebi: Benzinska pumpa i

odmorite / Petrol Station and Rest Area,
Niii, 2010. 85

75. Amir Vuk: Hotel Han, Bjelanica, 2009.

76. Normal arhitektura (Emir Salki, Muhamed

Serdarevi): FedEx, Sarajevo, 2007.
87

77. Normal arhitektura (Emir Salki, Muhamed

Serdarevi): MRKVA Drive Thru, Sarajevo,
2009. 88

78. Isra Tatli, Damir Tatli: Fast food ahbaz /

ahbaz kebab house, Ilida, 2010.89

79. Lada Maglajli: Filmska scenograja (za lm

Na putu), lokacija Gradska vijenica / Film
set for ON THE PATH [EN ROUTE, ON THE
WAY, ON THE ROAD, ON A JOURNEY.....
objasniti da bih mogla naci odgovarajuci
prevod], City Hall, Sarajevo, 2008. 89

80. Miron Ibrahimpai: Restoran PastaZen /

PastaZen Restaurant, Sarajevo, 2009.

81. Nedad Hrelja, Jasmina Hadimei, Emir

Hasei: Pizzeria Fratelli, Sarajevo, 2000.

82. Amir Vuk: Restoran Koliba / Koliba

Restaurant, Jahorina, 2009. 93

83. Sanja Gali-Grozdani, Igor Grozdani:

Centralni sadraji / Central facilities,
Bjelanica, 2006. 94

84. Branislav Stojanovi, Dalibor Bjelica:

Objekat gradske trnice / Market Hall, Banja
Luka, 2007. 95

85. Sead Golo: Shopping centar Merkur Otoka

/ Merkur Shopping Centre, Otoka, Sarajevo,
2003/2004. 96

86. Adnan Drnda: Prodajni centar / Shopping

Centre, Brko, 2008. 97

87. Sanja Gali-Grozdani, Igor Grozdani: Alta

shopping centar / Alta Shopping Centre,
Sarajevo, 2010. 98

88. Sead Golo: BBI centar / BBI Centre,

Sarajevo, 2009. 99

89. Slobodan Aneli: BBI centar / BBI Centre,

Sarajevo, 2006. 100

90. Amir Vuk: BBI Centar, Sarajevo, 2005.

91. Slobodan Aneli, Vladimir Aneli:

Poslovna zgrada Trins / Trins Commercial
192 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 Property, Lukavica, 2009/2010. 102 193
DRUTVO SOCIETY
Javni ivot Public life
Osnovni element arhitektonskog koncepta objekta ove
pumpne stanice je nadstrenica. Cilj je na
nekonvencionalan nain prezentirati element strehe kao
malu arhitektonsku zagonetku kako bi se skrenula panja
na osnovnu funkciju objekta prodaju goriva. Uz
nadstrenicu je izgraen objekt cilindrine forme, s
prodajom i prateim sadrajima, postavljen kao reper oko
kojeg se formira ulazni saobraajni tok. Elementi
nadstrenice su transparentni, s dijelom krova pokrivenim
translucentnim ploama i podgledom obuenim u
transparentnu mreu kako bi se otkrila njena konstrukcija.
Ovaj objekt je projektiran i izveden u prvim poslijeratnim
godinama, uz glavni gradski bulevar na ulazu u Sarajevo.
The principal feature of the design of this petrol station is
the canopy. The aim is to present the canopy in an
unconventional way, like an architectural riddle, to draw
attention to the basic purpose of the structure the sale of
fuel. The cylindrical building beside the canopy houses the
sales and ancillary facilities and acts as the point of
reference for vehicles entering the station. The canopy is
composed of transparent elements; part of the roof clad is
with translucent tiles and the underside is clad with a
transparent mesh, leaving the structure visible. The petrol
station, which was designed and built soon after the war,
stands alongside the main road into Sarajevo.

Benzinska pumpa
Petrol Line
Petrol Line Petrol
station

Arhitekti/Architects: GRUPA.ARH - Sead Golo Saradnici/Collaborators: Edin Golo Lokacija/Location: ul. Demala Bijedia, Sarajevo
Godina/Year: 1998-1999 Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: OKI d.o.o Sarajevo
BGP objekta/GBA: 325 m2

194 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 195

DRUTVO SOCIETY Element nadstrenice je pod uglom pokrenut u pravcu
sile inercije, kao kod sile nastale uslijed koenja, kako bi
Javni ivot Public life se kreirala mala arhitektonska atrakcija.
Ovakav arhitektonski koncept reafirmira vrijednost
elementa nadstrenice, koja je naglaena kako bi se
fokusirala panja prolaznika na objekt pumpne stance. Cilj
je takoer pomjeriti likovnu granicu nametnutu kanonom
po kojem je arhitektura pumpnih stanica determinirana
bojom svjetla na printu horizontalnog elementa strehe
iznad istakalita goriva. S obzirom na to da pumpne
stanice spadaju u kategoriju arhitekture koju je mogue
primijetiti uglavnom iz vozila, element nadstrenice
predstavlja arhitektonsku pojavu koja se sagledava kao
brza fasada, koja privlai panju samo u veoma kratkom
trenutku. Pumpna stanica je smjetena na glavnom
gradskom bulevaru koji povezuje Sarajevo s njegovim
predgraem. Objekt je nastao neposredno poslije
zavretka rata u Bosni i Hercegovini, u periodu
liberalizacije trgovine gorivom, koja je u tom periodu
nagovjetavala obnovu ekonomije u Bosni.
Benzinska pumpa
Muji
Muji Petrol
Station
Arhitekti/Architects: Sead Golo Saradnici/Collaborators: Edin Golo Lokacija/Location: ul. Demala Bijedia, Sarajevo Godina/Year:
1997-1998 Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Saim Muji
BGP objekta/GBA: 480 m
196 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The canopy is tilted at an angle reflecting the force of inertia,
as in the force created by braking, to create an architectural
attraction.
This design reaffirms the value of the canopy as an
architectural feature that is accentuated to focus the
attention of passers-by on the petrol station. It was also
intended to shift the boundaries dictated by the rule that
the architecture of a petrol station is determined by the
colour of the neon sign on the canopy over the petrol pumps.
Since petrol stations are seen mainly from vehicles, the
canopy is a fast faade architectural feature, attracting
attention only in passing. This petrol station, which is on the
main road from Sarajevo to the suburbs, was built just after
the war in Bosnia and Herzegovina, at a time when the
market in fuel was being liberalized, presaging an economic
revival in Bosnia.
IN BIH 1995-2010 197
DRUTVO SOCIETY
Javni ivot Public life
Ideja je bila projektirati benzinsku pumpu usred guste
borove ume, gdje bi, da nema saobraajnice, pomislili da
se nalazite u oazi ouvane prirode i istog zraka idealno
mjesto za zaustaviti auto i odmoriti se.
Putujui ovim prekrasnim krajevima, iza sebe ostavljate
gradsku vrevu, betonske i eline monstrume. Kakva
benzinska pumpa pripada ovom raju? Ako ve mora, onda
takva da je priroda moe prihvatiti izgraena od drveta i
kamena, u bojama okolia, jeseni, zemlje.
Objekt je mali, samo da poslui svrsi, da se umorni voza
odmori i upije dio ljepote kako bi je to dulje nosio u sebi.
To je bila ideja vodilja. Mora biti to vie drveta, a
najvanije je da postoje protupoarni premazi. Arhitektura
je uvijek ista i jednostavna misao. Sve ostalo se
nametnulo samo kao rjeenje razliitih tehnikih,
funkcionalnih i saobraajnih problema. Centralni dio
prostora zauzima polukruna nadstrenica, s ureajima za
toenje goriva. Zato polukrug? Da se vidi to vie ume.
Dva polukruna krova sueljavaju se u velikom koritu za
odvoenje oborina. Konstrukcija je mona jer ovdje snijeg
zaista zna iznenaditi.
The original idea was to design a petrol station in a pine
wood, where, were it not for the road, one would think one
was in an oasis of unspoilt nature and fresh air: an ideal
place to take a break on a long journey. Driving through
these picturesque landscapes, one soon leaves the city
behind, with its crowds, its pollution and its concrete and
steel monstrosities.
What kind of petrol station could belong in this paradise? If
there has to be one, it must be appropriate to the setting:
built of wood and stone, in the colours of the landscape
autumn tints, earth tones. It should be a small building, just
large enough to serve its purpose, and designed more for
weary drivers to rest, to absorb the beauty of the setting. This
became the guiding principle. There should be as much
wood as possible, treated with fire-retardant, of course.
Architecture is always a pure, simple idea. Everything else is
merely dictated by the need to address technical, functional
and traffic-related issues.The middle of the site is occupied
by a semicircular canopy over the petrol pumps. Why
semicircular? So that the view of the surrounding forest is
blocked no more than absolutely necessary. Two semicircular
canopies meet in a deep rainwater channel. The structure is
robust, to cope with heavy snowfalls.

Benzinska pumpa
i odmorite Niii
Petrol Station
and Rest Area at
Niii

Arhitekti/Architects: AMBIENTA Vesna Halebi Saradnici/Collaborators: Miralem Kruho Lokacija/Location: Niika visoravan, opina
Breza Godina/Year: 2005-2010. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Fublan comerc
d.o.o BGP objekta/GBA: 190m Fotograf/Photographer: Mersad Kapi

198 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 199

DRUTVO SOCIETY
Javni ivot Public life
Bijelo na bijelom arhitektura mimikrije
Ovo je bio postoperativni project reakcija na ve
definirani i djelomino izgraeni objekt. eljela se
ostvariti mimikrija za zimski ambijent, u kojem i za koji se
pravi ovaj mali hotel. Cijela kua je umotana u lim i
ostavljeno je da viri ono to treba da viri, slino izgledu
seljaka zimi ili grudvi snijega s dosta oiju. To je
arhitektura nude. Znajui udi Bjelanice, izbjegnute su
sve otvorene terase. Tupasta forma nije svojom visinom
prela postojeu kuu, ali je omoguila bolje iskoritenje
u presjeku. Fasade potuju logiku i dre se konteksta kue
na planini: baza od kamena, tijelo od drvenih oblica i
velika kapa krova. Unutranji prostori nastavljaju priu o
bjelini. Kao njihovo ishodite uzeta je orijentalna
bosanska kua s ponjavama na podu. Mobilijar je
tapeciran, da relaksira pri upotrebi, jer su ovo prostori za
odmor. Enterijer restorana u nivou recepcije podijeljen je
u vie namjena, s centralnim kaminom kao pupkom u
sredini. Koncept kafea je sjedenje uz pogled prema stazi.
White on white (deriving from the name of the mountain
Bjelanica the white mountain) the architecture of
mimesis
This was a post-operative project, a make-over for an already
partly-completed building. The aim was to mimic the winter
setting in which this small hotel is being built. The entire
building was clad in sheet metal, leaving openings only
where necessary, as if the building were a peasant muffled
up in winter or an argus-eyed snowball. This is the
architecture of necessity. Aware of the nature of Mt.
Bjelanica, the design avoids using open terraces. The
chunky shape is no higher than the existing building but
makes more effective use of it in section. The faade echoes
the features of mountain chalets: a stone base, a log carcass
and a roof like a wide cap. The interior continues the white
theme. The Bosnian oriental house, with its woollen floor
coverings, served as inspiration. The furniture is upholstered
for greater comfort this is a place to take ones ease. The
restaurant is on the same floor as the reception, and is
divided into several functional units with a central, navel-like
fireplace. The caf is designed so that one can sit by the
window with a view over the ski slopes.

Hotel Han

Arhitekti/Architects: Amir Vuk Saradnici/Collaborators: Kenan Brkalija, Edhem Saltagi, Lada Maglajli, Miron Ibrahimpai, Sanela Belko
Lokacija/Location: Bjelanica Godina/Year: 2008-2009. Tip/Type: ugovor/commission Investicija/Investment: privatna/private
Klijent/Client: Hano, Han Bjelanica d.o.o. BGP objekta/GBA: 1.100 m2 3D Redering: Suad Avdi

200 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 201

DRUTVO SOCIETY
Javni ivot Public life
Poslovni objekt FedEx Expressasmjeten je na uglu ulica
u stambenom naselju Dobrinja u Sarajevu. Autori su se za
ideju, prema gabaritima skromnog ali vizualno
atraktivnog objekta, posluili principom slaganja
videoigre tetris, referirajui se tako na proces i elemente
pakovanja u ekspresnom transportu roba.
The FexEx Express office building stands on a street corner
in the Dobrinja housing estate in Sarajevo. The architects
drew their idea for this modest but visually appealing
building from the Tetris video game, in which players have to
make horizontal lines from falling blocks, in reference to the
process of packing goods for express delivery.

Kombinirajui skalirana pakovanja poiljki kutija,
paket i pismo, dobijen je volumen od tri kubusa i
nadstrenice iznad ulaza. Parcela se nalazi na granici
stambenog bloka privatnih kua pored izuzetno
frekventne saobraajnice. Autori su smatrali da unutar
zateenog suburbanog okruenja trebaju ponuditi
savremen i razigran arhitektonski izraz, adekvatan da
privue panju i istakne se kao poslovni objekt.
Povlaenjem od ulice, kombiniranjem boja koje ili
naglaavaju ili neutraliziraju koritene elemente kubusa,
te izbjegavanjem otvora, izuzev jednog na junoj fasadi, i
ostakljenom zapadnom fasadom kroz sve etae gubi se
realna slika spratnosti Su+P+2, pa se objekt doima viim.
U povrini od 750 m2 smjeteni su na dijelu prizemlja i
viim etaama administrativni, a u dijelu prizemlja i
suterena skladini prostori. Objekt raspolae sa tri ulaza,
zavisno od namjene i pristupa korisnika. Igrom volumena
i kolorita te referentnom naracijom autori su ostvarili
prepoznatljivost poslovnog objekta ali i kreirali novi reper
unutar naselja.
The volume of three cubes and the pent roof over the
entrance are achieved by combining the various
consignments of boxes, packets and letters.The plot is on
the edge of a residential block of private houses beside a
very busy road. The architects were of the view that a
contemporary, animated architectural design should be
added to the existing suburban setting, of a kind that would
both attract attention and stand out as an office building.
The true image of the building, with its three storeys and
basement, is blurred by setting it back from the street,
combining colours to either accentuate or neutralize the
buildings cubic elements, and by glazing the entire west
faade from top to bottom, making the building seem taller.
With an area of 750 m2, the building incorporates offices on
part of the ground floor and the two storeys above, with the
rest of the ground floor and the basement providing
warehouse space. The building has three entrances, one for
staff, one for the general public and one for the
warehouse.The interplay of volumes and colours and the
referential narrative have been used by the architects to
create a distinctive office building as well as to create a new
landmark in the housing estate

FedEx

Arhitekti/Architects: normal arhitektura Emir Salki, Muhamed Serdarevi Saradnici/Collaborators: Armin Mei, Nedim Arnautovi
Lokacija/Location: Sarajevo Godina/Year: 2006. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client:
Rhea Express doo, Sarajevo BGP objekta/GBA: 750 m2 Fotograf/Photographer: Munever Salihovi

202 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 203

DRUTVO SOCIETY
Javni ivot Public life
Ugostiteljski objekt Mrkva drive through u poslovnom
smislu predstavlja iskorak ka uvoenju novog naina
konzumiranja tradicionalne fast food hrane evapa.
Unutar objekta ljudi bi mogli uivati u specijalnoj
recepturi evabdinice Mrkva (s dugogodinjom
tradicijom) ili porcije preuzeti iz svog automobila u
kratkom vremenskom roku. Autori su u oblikovanju
enterijera i eksterijera pronali uporite u tradicionalnoj
gradnji evabdinica na Baariji, kao to je i vidljivo na
fotografiji prve evabdinice Mrkva koja datira iz
osamdesetih. Objekt je koncipiran kao kubus koji je sa
svoje vanjske strane zatien stiliziranim muepcima
drvenim fasadnim pregradama koje unutranjost u toku
ljeta tite od neugodnog djelovanja sunca, a zimi
proputaju suneve zrake zbog njihovog niskog zimskog
ugla upada i tako atmosferu unutar objekta ine toplijom
i ugodnijom. Na mjestima koja su zbog pozicije grupa za
sjedenje interesantna za vizure prema vani napravljeni su
otvori u mrei od muebaka. Iznad otvora su drveni
poklopci koji slue kao streha i tite od nepovoljnog
upada sunca. Cijeli objekt je podignut na jedan kameni
sokl kako bi se odvojio od zemlje i tetnog utjecaja vode
u vidu kie i snijega. Ba kao to su ti isti elementi
muebaka, strehe i kamenog sokla davali poseban akcent
staroj radnji Mrkva u srcu Baarije. Restoranski dio
objekta je tretiran u fasadi kao ostakljeni, a dio koji slui
kao kuhinja i ostali ekonomski prostori uraen je od
netransparentnih materijala.
In commercial terms, the Mrkva drive-through catering
establishment is a step towards the introduction of a new
approach to evapi (kebabs), Bosnias traditional fast food.
Inside, people will be able to enjoy the special recipe
perfected by the Mrkva kebab house, which goes back many
years, or pick up their order from their cars with only the
shortest wait. The architects based their design for both the
interior and the exterior on the traditional kebab houses of
Baarija, of the kind to be seen in the photograph of the
first Mrkva kebab house dating from the 80s.The building is
designed as a cube screened on the outside by the stylized
wooden muebak lattice-work of the faade, providing shade
from the summer sun while allowing the lower rays of the
winter sun to enter, creating a warmer, more welcoming
atmosphere inside the building. Openings have been left in
the latticework at the points where the seating areas have an
attractive view of the surroundings. Wooden hatch covers
over these openings act as eaves, forming brise-soleil
screens. The entire building stands on a stone socle to
insulate it from the ground and the adverse effects of rain
and snow. These are the very same elements latticework,
eaves and a stone socle that give the old Mrkva kebab
house in Baarija its distinctive appearance. The
restaurant section of the building has a glazed faade, while
the kitchen and other service quarters have solid walls.

MRKVA
Drive Through

Arhitekti/Architects: normal arhitektura Emir Salki, Muhamed Serdarevi Saradnici/Collaborators: Dino Eminagi Lokacija/Location:
Sarajevo Godina/Year: 2009 Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Mrkva Group d.o.o.
Sarajevo BGP objekta/GBA: 300 m2 Fotograf/Photographer: Munever Salihovi

204 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 205

DRUTVO SOCIETY
Javni ivot Public life
Projekt predstavlja istraivanje prepoznatljivih
tradicionalnih formi u koritenju odreenih prostora.
Prepoznavanje tradicionalnih formi u nematerijalnim
elementima i njihove ideje osnovni je koncept i polazite
za razvoj ideje. Dualistiki tretman tradicije kao ideje i
suvremenosti kao forme uzima se s ciljem njihovog
ujedinjenja.
Podijeljenost u funkciji i poluprozirnost u podjeli su
nematerijalni elementi tradicije izvedeni uz suvremeno
koritenje materijala i formi. Koriteni materijali su lokalni
i tradicionalni, dok je nain njihove obrade suvremen.
Materijalizacijom je nagovijetena i funkcija prostora,
gdje se smjenjuje prostor kupovine s prostorom za jelo.
Ulazni portal je podijeljen na istom principu i naglaava
podijeljenost prostora za brzi ulazak i kupovinu od
poluintimnog prostora za sjedenje sakrivenog iza letvica
na portalu. Upotreba geometrijskog kolaa bosanskog
ilima na tapeti predstavlja primjenu tradicionalnog
elementa kao sistema asocijacije uobiajenog u
prostorima ove namjene i prepoznatljive forme kod veine
korisnika, s ciljem stvaranja ravnotee izmeu
projektantskog istraivanja prostora i njegove stvarne
upotrebe.
This design is an exploration of familiar traditional forms in
the use of specific spaces. The basic idea from which the
design developed was to recognize the intangible aspect of
traditional forms and their underlying ideas. The dualist
treatment of the traditional as idea and the contemporary as
form was adopted with the aim of unifying them.
Division by function and semi-transparency in division are
intangible features of tradition transposed into a
contemporary use of materials and forms. The materials
used are local and traditional, but their treatment is modern.
They also presage function, with successive spaces for take-
away and eating in. The entrance is divided on the same
principle, making it clear which is the fast-food take-away
area and which the eating-in area, given a degree of privacy
by the slatted entrance. The use of geometric designs of the
kind seen on Bosnian kilims for the wallpaper is an instance
of the use of a traditional element as a recognizable feature
associated by most customers with such premises, with a
view to creating a balance between the designers
exploration of space and its actual use.

Fast food ahbaz

Arhitekti/Architects: Ideogram Isra Tatli, Damir Tatli Lokacija/Location: Sarajevo Godina/Year: 2009/2010. Tip/Type:
ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Dino ahbaz BGP objekta/GBA: 60 m2
Fotograf/Photographer: Isra Tatli, Damir Tatli

206 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 207

DRUTVO SOCIETY Bezgranino inspirativni, hedonizam i erotika bili bi kratak Endlessly inspiring, hedonism and the erotic could be a

Javni ivot Public life

opis ideje za scenografsko ureenje ratom devastiranog
objekta Gradske vijenice u Sarajevu za potrebe snimanja
scene u savremenom disko klubu filma Na putu.
Ratom razoreni, trenutno prazni prostor, dobio je utrku s
modernim disko prostorom. Prostor je opremljen
dugakim ankom (15 m), prepunim raznobojnog pia,
tila, voa, rua, lampi, svijea, s jednostavnim, u crne
plateve-suknje obuenim stolovima, s jedne strane, a
nasuprot tome, u drugom dijelu, raskonim sofama:
barokna tkanina, mekani jastuci, zdjele-labudovi pune
plodova, igra perlicama koje vise i neprestano titraju,
ljeskaju se, igraju i priaju svoju priu. DJ-jev pult je tron.
Vrhunski muziki ureaji plove po raskonom tirkiznom
tilu. DJ je kralj.
concise description for the set created in the war-scarred,
still empty City Hall in Sarajevo, chosen instead of a modern
disco to shoot a scene for this modern disco-club film.
Na putufilm by Jasmila bani
A 15-metre long bar was set up, packed with drinks of
various colours, tulle, fruit, roses, lamps and candles. Plain LOKACIJA:
tables draped in black on one side contrasted on the other GRADSKA VIJECNICA_
with luxurious, baroque-upholstered sofas, fluffy cushions, DISCO CLUB
swan-shaped bowls of fruit, and hanging beads, endlessly
swinging to and fro as if telling their story. The DJs booth is
a throne, with state-of-the-art equipment floating on
SCENOGRAFIJA: Lada Maglajli
sumptuous turquoise tulle. The DJ is king.

Na putu Na putufilm by Jasmila bani

film by Jasmila bani LOKACIJA:

LOKACIJA:
GRADSKA VIJECNICA_
DISCO CLUB
Scenograja za GRADSKA VIJECNICA_
DISCO CLUB SCENOGRAFIJA: Lada Maglajli
lm Na putu SCENOGRAFIJA: Lada Maglajli
On the Path lm
set

FOTOGRAFIJE by Dzenat Drekovi

FOTOGRAFIJE by Dzenat Drekovi

FOTOGRAFIJE by Dzenat Drekovi

Arhitekti/Architects: Lada Maglajli Saradnici/Collaborators: Vanja Nogo, Faruk Jesenkovi Lokacija/Location: Gradska Vijenica, Sarajevo
Godina/Year: 2008. Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: DEBLOKADA BGP objekta/GBA:
208 m2 Fotograf/Photographer: Denat Drekovi

208 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 209

DRUTVO SOCIETY
Javni ivot Public life
Restoran PastaZen svojim konceptom (dan/no show
cooking) prilagoen je dananjem zaposlenom ovjeku,
kojem je potrebna brza, kvalitetna i zdrava hrana u
jedinstvenoj atmosferi koja omoguava ugodan boravak,
kao i poslovna, porodina i prijateljska druenja. Za kratko
vrijeme restoran u centru grada postao je prepoznatljivo
mjesto susreta koje zrai toplinom, ozbiljnou i
savremenim izgledom.
Cijeli prostor odie idejom prilagodbe, pa tako promjena
svjetla ovaj prostor tranformira iz dnevne u nonu
atmosferu. Prilagoavanje se ogleda i u upotrebi
materijala kao to su nauljeno drvo i gruba kamena
stijena, koji svojom pomalo drskom jednostavnou
omoguavaju korisnicima da se nakon veoma kratkog
vremena stope s prostorom i osjeaju ga kao dio sebe.
Autori su i enterijerskim detaljima, zelenilom i raznim
dodacima za kuhanje uinili atmosferu bliskom, pa ak i
familijarnom. Svi elementi tog enterijera su taktilne
prirode, veoma vjeto izabrani. Ovim konceptom gradu
Sarajevu je ponueno neto to do sada nije
imao. Namjera investitora je da postane jedinstven kako
bi pokretanje lanca ovakvih restorana proizalo kao
neminovan in. Uspjeno realiziran enterijer i koncept
restorana plod su uspjene saradnje i istraivanja kako
investitora tako i projektanta.
The day/night live show cooking concept of the PastaZen
restaurant is aimed at todays business people, who need
quick, good quality, healthy food in a welcoming atmosphere
where they can meet friends, family and business associates.
This restaurant in the city centre soon became known for its
warmth, commitment to good food and contemporary setting.
The entire space suggests the idea of adaptation, with the
atmosphere changing from daytime to night-time as light
levels vary. Adaptation is also reflected in the use of
materials such as oiled wood and rough stone walls, the
somewhat brazen simplicity of which enables customers
quickly to feel at home in the place, as though it were part of
them. The architects also used interior details, greenery and
various kitchen utensils to give the place a homely feel.
Everything in the interior is tactile and selected with great
skill.This concept has provided Sarajevo with something new.
The owners intention was that it should become unique, so
that launching a chain of such restaurants would be the
inevitable consequence. The success of the interior and of
the very concept of the restaurant are the outcome of
successful cooperation and market studies by the owner and
the architect.

Restoran
PastaZen
PastaZen
Restaurant

Arhitekti/Architects: Miron Ibrahimpai Saradnici/Collaborators: IN/OUT arh. Studio/ IN/OUT architects studio Lokacija/Location:
Sarajevo Godina/Year: 2009 Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: PastaZen d.o.o
BGP objekta/GBA: 85 m2 Fotograf/Photographer: Denat Derkovi

210 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 211

DRUTVO SOCIETY
Javni ivot Public life
Fratelli je mala picerija u jednom od pasaa stambenog
naselja Ciglane u Sarajevu. Projekt izduene osnove i
ulaza s obje strane podvlai koncept pasaa.
Topli tonovi drveta i senzualne krivine drvene fasade na
zanimljiv nain istiu ovaj objekt u odnosu na pasa i
okolne zgrade, koji su materijalizirani u fasadnoj opeci.
Tokom dana drvena fasada titi od radoznalih pogleda,
dok nou simboliki proputa svjetlo, toplinu i atmosferu
svog enterijera u okolni prostor pasaa, inae mranog,
neosvijetljenog i hladnog.
Fratelli is a small pizzeria in one of the passageways in the
Ciglane housing estate in Sarajevo. With its length, and its
entrances at both ends, it accentuates the idea of the
passage.
The warm tones of wood and the sensual curvature of its
wooden faade create an interesting focal point in an
otherwise blank brick-and-mortar setting.
During the day the faade protects visitors from the gaze of
passers-by, while at night it allows for a symbolical
extension of warmth and atmosphere into the pizzerias
immediate surroundings, the passage, which would
otherwise remain dark, unlit and cold.

Pizzeria Fratelli

Arhitekti/Architects: Nedad Hrelja, Jasmina Hadimei, Emir Hasei Saradnici/Collaborators: Emir Salki, ejla Kameri
Lokacija/Location: Ciglane, Sarajevo Godina/Year: 2000. Tip/Type: ugovor/commission Investicija/Investment: privatna/private
BGP objekta/GBA: 40 m2 Fotograf/Photographer: Damir agolj

212 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 213

DRUTVO SOCIETY Poetak intime
Javni ivot Public life Kontekst je kua na planini, a koncept seoska koliba, koja
slui kao inspiracija. Nova koliba predstavlja nadogradnju
postojee, kojoj je trebalo proiriti kapacitet, gotovo
utrostruiti povrinu, napraviti novu kuhinju i pratee
sadraje a ne oskrnaviti staru kolibu i njen ambijent.
Zarubljena, facette arhitektura nove kolibe logian je
nastavak takvog oblikovanja na planini. Kontakt-zona
izmeu stare i nove kolibe posluila je za smjetaj kuhinje
sa ankom, koja je u svrhu mimikrije sasvim nestala u
zemlji. Otvorena na tri strane, kroz velika zastakljena okna
kupi istono i zapadno sunce. Vanjska fasada nove kolibe
je rukopis s fasade stare kolibe kombinacija podnoja
od kamena i slaganih cjepanica i pokrova od indre.
Objekt je zamiljen kao betonska koljka. Geometrija je to
provocirala, a onda je iznutra drvenim galerijama graen
prostor od nosivih greda, koje su konstruktivno
nakrivljene i asociraju na haotinost ume. Sve to
kulminira u rasutom stropu. Kut/ugao poetak je intime.
Svako od nas se iz svog kuta obraa svijetu. Tek tako
ostvareni moemo uspostaviti odnos s kosmosom. Nova
koliba nudi i nosi u sebi mnotvo takvih intimnih kutaka,
koji su opet nekako povezani tim volumenom. Ovo je
prostor obnovljive energije, ovo je vjena arhitektura, jer
je prostoru posveena panja i u namjeni i u izvedbi. Da
bi se ostvario ovaj alhemiarski obrat da se materija iz
profanog digne na nivo svetog, neophodna je stalna
saradnja investitora, izvoaa i arhitekte. Pozitivna
energija koja je duboko pohranjena u ovom objektu
obnavljat e se radou onih koji ga budu posjeivali.
Restoran Koliba
The Koliba
Restaurant
Arhitekti/Architects: Amir Vuk Saradnici/Collaborators: Lejla Huji, Damir Tatli, Omar elo Lokacija/Location: Jahorina Godina/Year:
2009. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Termag BGP objekta/GBA: 790 m2
214 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The corner the origin of intimacy
The context is a mountain chalet, and the concept a country
hut, which was its inspiration. The new chalet is an
extension of the old to provide almost three times its former
capacity, along with a new kitchen and ancillary services,
without spoiling the old chalet and its atmosphere. The
faceted architecture of the new chalet is a logical
continuation of the alpine hut. The kitchen and bar were
located between the old hut and the new extension, set right
back into the ground in the spirit of mimicry, with large
picture windows open on three sides to capture the morning
and evening sun. The faade of the new extension is in the
style of the old a combination of a stone base and split log
walls topped by a shingled roof. The building was designed
as a concrete shell, prompted by the geometry, with the
bearing timbers forming wooden galleries inside to evoke
the randomness of a forest, culminating in the equally
random appearance of the roof and accentuated by the
hanging fireplace.The corner is the origin of intimacy. We all
address the world from our own personal angle or corner,
and only thus can we relate to the universe. The new Koliba
provides many such intimate corners, all of which are related
to the whole. This is a space of renewable energy, age-old
architecture where care has been taken in both purpose and
execution. To achieve this alchemical sea-change, to elevate
matter from the profane to the sacred, requires constant
cooperation between investor, contractor and architect. The
positive energy stored deep in this building will revive with
the pleasure of its visitors.
IN BIH 1995-2010 215
DRUTVO SOCIETY
Javni ivot Public life
Koritenjem denivelacije lokacije formirana je takozvana
RURbana matrica, koja visoku koncentraciju urbanih
sadraja velikog volumena rjeava kroz suterensku etau,
formirajui novi planinski plato na kojem nastaje
kompozicija manjih istorodnih volumena hibridnog
planinskog sela.
Using the existing topography of the site, the architects have
created a RURban matrix in which the high concentration
of urban facilities is located below ground, forming a new
mountain plateau on which a composition consisting of the
small, similar structures of a hybrid mountain village took
shape.

Centralni sadraji planinskog ski centra Babin do na
Bjelanici locirani su na voritu triju razvojnih pravaca
izgradnje turistikih kapaciteta na ovom prostoru. Cilj je
formirati budui centar ovog turistikog kompleksa s
odgovarajuim trgovakim, ugostiteljskim i sportskim
sadrajima, fitnes centrom i bazenom. Jedan od
znaajnijih aspekata ovog rjeenja je adekvatno spajanje
ruralnog, prirodnog okruenja, s visokom koncentracijom
urbanih funkcija.Hibridna forma objekata na platou
definirana je kroz personifikaciju formi planinskih masiva,
s jedne, i kroz evoluciju forme tradicionalne planinske
bosanske kue, s druge strane. Tako je formirana hibridna
kompozicija dinamiziranih objekata pokrivenih
tradicionalnim pokrovom od indre. Svojom potpunom
permeabilnou RURbana matrica proputa i usmjerava
pjeake tokove uvlaei ih u prostor kontrasta i
dinaminih sekvenci planinskog FU-turistikog sela za 21.
stoljee.
The central facilities of the Babin Do ski centre on Mt
Bjelanica are located at the junction of the development of
three tourist facilities. The aim is to create the future centre
of this tourist complex, with all the usual retail, catering and
sports facilities, a fitness centre and a swimming pool.One of
the most significant aspects of this is the way it forms a link
between the natural, rural setting and the high concentration
of urban functions.The hybrid form of the buildings on the
plateau was suggested on the one hand by a personification
of the shape of the mountains and on the other by the
evolution of the traditional Bosnian mountain house. This
gave rise to a hyper-modern composition of dynamic
buildings with traditional shingle-clad roofs.The total
permeability of the RURban matrix both facilitates and
directs the movement of pedestrians, drawing them into an
area of contrast and dynamic sequences constituting a
fut(o)urist mountain village for the 21st century.

Hibridno selo-
Bjelanica
A Hybrid Village
Bjelanica

Arhitekti/Architects: Studio non stop Sanja Gali-Grozdani, Igor Grozdani Saradnici/Collaborators: Edin Avdibegovi, Hasnija Kazi,
Jasmina Topagi Lokacija/Location: Bjelanica Godina/Year: 2006. Tip/Type: natjeaj, prva nagrada/competition, first prize
Investicija/Investment: javna/public Klijent/Client: Optina Trnovo/Trnovo Municipality Povrina parcele/Site area: 12.400 m2
BGP objekta/GBA: 19.860 m2 Fotograf/Photographer: Studio non stop

216 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 217

DRUTVO SOCIETY U samom gradskom centru, u denivelaciji glavnog trga
(Trg Krajine) i prostora prema Kastelu, izmeu dva
Javni ivot Public life svjetska rata pozicionirana je Gradska trnica.
U procesu dogradnje i nadogradnje ispotovane su
polazne urbanistike i projektantske postavke koje su se
odnosile na neophodnost ouvanja izuzetne vizure sa trga
prema Kastelu i dubinske vizure prema ozelenjenom
brdovitom zaleu. To je postignuto sprovoenjem
dijagonalnog prodora sa trga do velikog stepenita.
Takoe, spratnost i prije svega duina objekta od oko 180
metara bile su teme koje su uslovile struktuiranje i
ralanjivanje volumena i razliit tretman i obradu fasade,
a u pokuaju uvoenja cjelokupnog objekta u urbanu
matricu u zoni kontakta sa gradskim tkivom. U tehnikom
smislu pokrivanje trnikog prostora uslovljeno
kontinualnim radom pijace opredijelilo je izbor
konstruktivnog rjeenja u kome su centrino postavljeni
stubovi sa osmometarskim konzolnim prepustima, nosai
laganog i kontrolisano transparentnog krovnog pokrivaa.
Posebno treba istai stav da krovni pokriva ne zatvara
pijani prostor, ve je u kontaktnim zonama sa postojeim
objektima izdignut, ime je obezbijeeno stalno i
aluzinama kontrolisano provjetravanje pijace.
Objekat gradske
trnice
Market Hall
Arhitekti/Architects: Branislav Stojanovi, Dalibor Bjelica Saradnici/Collaborators: Biljana Stani Lokacija/Location: Banja Luka
Godina/Year: 2004-2007. Tip/Type: natjeaj/competition Investicija/Investment: javna/public Klijent/Client: Trnica a.d. Banja Luka
BGP objekta/GBA: 14.500 m2 Fotograf/Photographer: Dalibor Bjelica
218 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The market hall in the heart of the city, where there is a
change of level between the main Krajina Square and the
area around Kastel, was built between the two world wars.
The original planning and design postulates pertaining to
the need to preserve the fine view from the square of Kastel
and the green, hilly background were taken into account in
the process of upgrading and enlargement. This was
achieved by a diagonal extension from the square to the
flight of steps. The number of storeys and, in particular, the
length of the building, some 180 metres, dictated the
structure and articulation of volumes and the different
treatment of the faade with a view to incorporating the
building into the urban fabric of the contact zone. The
technical aspect of providing a roof covering for a market
that is open all day seven days a week prompted the
architects to opt for central pillars with eight-metre
cantilevers supporting a lightweight transparent roof and
light fittings. This does not turn the market into an enclosed
space, since the roof is raised where it is in contact with
existing facilities, providing a ventilation system for the
market area that is controlled by louvres.
IN BIH 1995-2010 219
DRUTVO SOCIETY
Javni ivot Public life
Objekt je lociran u zoni kolektivnog stanovanja u novom
dijelu Sarajeva i sadri funkcije shoppinga sa zelenom i
mlijenom pijacom. S njegove tri strane nalaze se
stambeni objekti, dok je sa sjeverne strane centra rijeka
Miljacka. Svi stambeni objekti u okruenju nastali su u
drugoj polovini dvadesetog stoljea, u vrijeme intenzivne
izgradnje Sarajeva u duhu funkcionalizma. Koncept je
determiniran idejom arhitektonske komunikacije s
okolinom, uz pomo jedostavnih arhitektonskih
elemenata: dvaju kubusa i nadstrenice. Nadstrenica
zatvara ritam po vertikali natkrivajui prostor, pauzu
izmeu kubusa, namijenjen zelenoj pijaci, dok volumetrija
centra korespondira s mjerilom okolnih objekata. Manji
kubus je ostakljen kao code u monohromatskim sivo-
crnim te narandastim staklenim elementima, koji
predstavljaju reminiscenciju na puls gradskog ivota.
Objekt Shopping centra Merkur, kao arhitektonska
interpolacija na razini grada, trebao bi kreirati malu
vizuelnu tenziju i novi arhitektonski modus koji
upotpunjava vizelnu sekvencu naselja Otoka.
The building, which is located in a residential area in the
new part of Sarajevo, combines a shopping centre and a
vegetable, fruit and milk market. It is surrounded on three
sides by blocks of flats, and to the north by the River
Miljacka. All the neighbouring buildings date from the latter
half of the 20th century, when there was a construction boom
in Sarajevo in the functionalist style. The concept is
defined by the idea of architectural communication with the
surroundings using simple architectural elements; two cubes
and a canopy. The canopy completes the rhythm vertically,
covering the pause between the two cubes where the fruit
and vegetable market is located, while the Centre matches
the surrounding buildings in scale. The smaller cube is
glazed as a code in monochrome grey and black with
orange glazed elements, evoking the pulse of urban life. As
an architectural infill, the Merkur Shopping Centre should
create a degree of visual tension and a new architectural
feature complementing the visual sequence of the Otoka
housing development.

Shopping centar
Merkur
Shopping Center
Merkur

Arhitekti/Architects: GRUPA.ARH - Sead Golo Saradnici/Collaborators: Sabrija Bilali, Edi Kalji, Edin Golo Lokacija/Location: Ul.
Demala Bijedia, Otoka, Sarajevo Godina/Year: 2004-2006 Tip/Type: ugovor/commission Investicija/Investment: privatna/private
Klijent/Client: MIMS d.o.o. Sarajevo BGP objekta/GBA: 18.000 m2 Fotograf/Photographer: Sandro Lendler

220 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 221

DRUTVO SOCIETY
Javni ivot Public life je kao samostojei paviljon, s akcentom na prednjoj
Prodajni centar
Shopping Centre
222
Prodajni centar u Brkom smjeten je na prilazu gradu, uz
magistralnu cestu koja vodi iz pravca Tuzle, i projektiran
fasadi. Namjena objekta ponukala je autora na ovakvo
rjeenje, da savremenom formom i materijalizacijom
napravi kuu za prodaju proizvoda, kuu koja e se
transformirati prema unutranjim zbivanjima,
otvarati/zatvarati prema eksterijeru. U dananje vrijeme
izraenog konzumerizma i hiperprodukcije objekata ovog
tipa, i kod nas i u svijetu, potrebno je biti originalan i s
racionalnim arhitektonskim pristupom projektirati objekt
koji e zadovoljiti svojom funkcijom i atraktivnou.
Analizom navika kupaca autor je doao do sekvenci koje
je potrebno zadovoljiti u smislu atrakcije kako bi kupci
bili zadovoljni. Prva sekvenca je ulazna, pristupna fasada,
koja je rijeena kao kombinacija plave nadstrenice koja
uokviruje prednju fasadu te natkriva dva preostala
elementa: staklenu satiniranu stijenu s ulaznim portalom
te megaizlog proizvoda. Druga sekvenca ulazni hol s
prodavnicama, restoranom i kafeterijom, ila je kucavica
centra, s atmosferom uline promenade naglaene kako
na stropu tako i na podu. Trea sekvenca su ustvari dva
podjednako vana elementa. Jedan je dio izuzetno vaan
za kupce ealj s kasama, koji je postavljen i
organiziran tako da kupac nakon obavljene kupovine to
prije napusti objekt, te sam prostor hipermarketa s
pripadajuim cjelinama.
Arhitekti/Architects: Adnan Drnda Projekat enterijera/Interior design: Adnan Drnda, Sulejman Midi Saradnici/Collaborators: Majda
Taletovi Lokacija/Location: Brko Distrikt Godina/Year: 2007/2008. Tip/Type: ugovor/commission Investicija/Investment:
privatna/private Klijent/Client: FIS Vitez BGP objekta/GBA: 17.200 m2 Fotograf/Photographer: ARHILAB
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The shopping centre in Brko is on the main road into the
town from Tuzla, and was designed as a detached pavilion
with the emphasis on the front faade. The nature of the
building prompted the architect to design a house for the
sale of goods, a house that will be transformed by what goes
on inside it, opening up to and closing off from the outside
world.In this age of hyper-consumerism and the hyper-
production of this type of facility both at home and abroad,
what is needed is an original, rational approach to
architectural design that will meet both functional and
aesthetic requirements.The architect studied consumer
habits to arrive at a succession of features designed to
attract buyers. The first is the entrance front, designed as a
combination of a blue canopy framing the front of the
building and covering the other two elements: the glazed,
satin-finished wall where the entrance is located and a mega
shop window. The second is the main foyer, with shops, a
restaurant and a cafeteria, the focal point of the centre, with
the atmosphere of a street, accentuated by the design of the
ceiling and the floor. The third consists of two equally
important elements. One is a comb where the pay points
are located, laid out to enable customers to leave the
building as soon as they have paid, and the other a
hypermarket with all the usual features.
IN BIH 1995-2010 223
DRUTVO SOCIETY
Javni ivot Public life
Shopping centar Alta formiran je kao povijena i vertikalno
razvijena kontinuirana shopping ulica koja definira
trodimenzionalno urbano vorite pjeakih tokova.
Shopping centar Alta smjeten je na Marijin-Dvoru, u
centru Sarajeva, na jednoj od najmarkantnijih gradskih
raskrsnica koja predstavlja vorite kolskih i pjeakih
urbanih tokova. S druge strane glavne gradske ulice
nalaze se objekti institucija Bosne i Hercegovine, to
dodatno naglaava ekskluzivnost lokacije.S obzirom na
atraktivnu lokaciju, objekt bi trebao u funkcionalnom
smislu biti urbana shopping galerija s ekskluzivnim
sadrajima trgovina i usluga koji se razvijaju u suterenu,
prizemlju i na tri nadzemne etae. Apsorpcijom urbanih
pjeakih tokova unutar objekta vri se ankerovanje
objekta u urbanu matricu, odnosno sam objekt postaje dio
urbane matrice. Uvlaenjem dijagonalnog pjeakog
pravca u prostornu strukturu objekta dodatno se pojaava
njegov urbani kontekst i funkcionalna permeabilnost.
The Alta Shopping Centre is in the form of a markedly
vertical, continuous winding strip of shopping street defining
the three-dimensional structure of the urban hub of
pedestrian flows.
The Shopping Centre is in Marijin-dvor in central Sarajevo,
on one of the citys main crossroads, both a traffic and a
pedestrian hub. It is on the opposite side of the main road
from the buildings housing the Parliament and Joint
Institutions of Bosnia and Herzegovina, further highlighting
the exclusive nature of the site.Given this attractive location,
the building is designed to serve as an urban shopping
gallery with exclusive retail and services facilities on five
storeys basement, ground and three upper floors. By
absorbing urban pedestrian movements, the building will be
anchored into the urban matrix, of which it will become an
integral part. Its urban context and functional permeability
is enhanced by drawing the diagonal pedestrian flow into
the spatial structure of the building.

Kod koncipiranja fasada tenja je bila da se ouva
itljivost osnovnog koncepta, odnosno da se ustakli
povijena betonska traka pjeakih shopping tokova, i na
taj nain sauva transparentnost procesa u objektu.
Muzejski jednostavna i ista bijela fasada nastoji
izjednaiti posveenost posjetama umjetnikim
galerijama i posveenost konzumiranju shopping galerija.
The faade is designed to preserve the readability of the
basic concept by glazing the winding concrete pedestrian
shopping lane to maintain the buildings transparency. The
simple, clean white faade is designed to equate the growing
interest of the public in visiting art galleries with that of
visiting shopping centres.

Bosanski vor
Alta
Bosnian knot
Alta

Shopping street

Second floor

Folding / knoting

3D continuous shopping street

Arhitekti/Architects: Studio non stop Sanja Gali-Grozdani, Igor Grozdani Saradnici/Collaborators: Edin Avdibegovi, Hasnija Kazi,
Ardina Pondro, Zlatan Selimovi Lokacija/Location: Sarajevo Godina/Year: 2004-2006. Tip/Type: natjeaj, prva nagrada/competition,
first prize Investicija/Investment: privatna/private Klijent/Client: Triland Development, d.o.o Sarajevo BGP objekta/GBA: 22.600 m
Fotograf/Photographer: Sandro Lendler

224 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 225

DRUTVO SOCIETY BBI Centar predstavlja arhitektonsku interpolaciju na
razini grada. Ovaj projekt je lociran na jednoj od
Javni ivot Public life najatraktivnijih lokacija u sreditu Sarajeva.
Preduvjet za definiranje ovog arhitektonskog koncepta je
transparentna shopping galerija dostupna za pjeake
tokove i vizure. Zgrada je otvorena iznutra prema vani, i
obrnuto, u smislu koritenja dnevnog ili artificijelnog
svjetla koje reflektira puls gradskog ivota. Ideja o
organizaciji shopping galerije u atmosferi osvijetljenoj
indirektnim ambijentalnim svjetlom omoguuje osjeaj
privatnosti za posjetitelje. Unutranjost prostora je
projektirana kao galerija sa dva zrana prostora i jasno
definiranim pjeakim tokovima, koji povezuju zone
trgovine i gastronomije. Zrani prostori podsjeaju
posjetitelje na koncept galerije koji omoguuje vizualnu
komunikaciju za razliite aktivnosti u istom trenutku. U
Centru je organizirana podzemna garaa kapaciteta 470
parking mjesta. Koloristika obrada zidnih i podnih
povrina za cilj ima poboljanje vizualnog kvaliteta
prostora podzemne garae. Fasada je artikulirana
jednostavnim jezikom savremene arhitekture:
horizontalne strehe na ulazima i dijalog izmeu
ostakljenih i punih arhitektonskih elemenata. Vanjski
prostor izmeu Centra i frekventne saobraajnice na
sjevernoj strani zamiljen je kao tampon pjaceta, koja,
opremljena adekvatnim urbanim mobilijarom, nudi
graanima mjesto za kratki odmor i susrete.
BBI centar
BBI Centre
Arhitekti/Architects: GRUPA.ARH - Sead Golo Saradnici/Collaborators: Aleksandar Cigan, Edin Golo, Edi Kalji, Ognjen Mandi
Lokacija/Location: Sarajevo Godina/Year: 2006-2009. Tip/Type: arhitektonski natjeaj, prva nagrada/architectural competition, first
prize Klijent/Client: BBI Leasing & Real Estate d.o.o. Sarajevo BGP objekta/GBA: 49.000 m Fotograf/Photographer: Amer Kapetanovi
226 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The BBI Centre is an architectural infill on the scale of the
city, occupying one of the most attractive locations in the city
centre.
A prerequisite of the architectural concept was a transparent
shopping gallery facilitating pedestrian movement and
views. The building is open from the inside to the outside
world and vice versa, by using natural or artificial lighting
reflecting the pulse of urban life. The idea of arranging
shopping galleries in an atmosphere lit by indirect ambient
light provides a sense of privacy for visitors. The interior was
designed as a gallery with two air wells and clearly defined
pedestrian flows linking the shopping and gastronomy zones.
The air wells remind visitors of the gallery concept, providing
a simultaneous view of different activities. The Centre also
includes an underground garage with 470 parking spaces.
The colours of the walls and floors are designed to enhance
the visual quality of the garage.
The faade is articulated in the simple vocabulary of
contemporary architecture: horizontal canopies over the
entrances and a dialogue between glazed and solid
elements. The area between the Centre and the busy street
to the north forms a buffer piazzetta with plenty of street
furniture, providing a place to rest or meet.
IN BIH 1995-2010 227
DRUTVO SOCIETY
Javni ivot Public life
Viefunkcionalni organizam Centra odgovara na slojevite
zahtjeve downtown okruenja. Svojom minimalistikom
plastikom te paljivo odmjerenom distribucijom
horizontalnih masa daje optimalan balans teine i
karaktera objekta u odnosu na trg, park, saobraajnice i
okolne objekte, te postaje autohtoni urbani reper sredita
Sarajeva.
The multifunctional organism of the Centre is appropriate
to its city-centre surroundings. With its minimalist form and
careful distribution of horizontal masses, it provides the
optimum balance between the weight and the character of
the building in relation to the square, park, roads and
surrounding buildings, making it an indigenous urban
benchmark of Sarajevo city centre.

Arhitektura objekta zasnovana je na kontrapunktu
betonskog izvijenog oblika (veza s vrijednim objektom
Feroelektro u susjedstvu) i strukturalne staklene fasade
s kristalnim high-tech doksatima (element tradicionalne
bosanske arhitekture). Svi funkcionalni traktovi objekta
(garaa, supermarket, centar Sve za dom, mol, poslovni
lokali, hotel, konferencijska dvorana i saloni) imaju svoj
izraz u gabaritima i fasadama objekta, suvereno
promovirajui jedinstvo forme i sadraja. Skuenost
urbanog tkiva centra Sarajeva trai poseban odnos prema
javnim povrinama. Zato se postojei trg ispred BBI centra
nastavlja kroz transparentno prizemlje objekta, s klizeim
staklenim panoima. Ljeti maksimalno otvorena povrina
prizemlja uvlai ljetne bate ispod objekta te
omoguava organiziranje raznih manifestacija, promocija,
bazara i susreta. Rjeenjem saobraaja na krajnje
funkcionalan a jednostavan nain BBI centar se optimalno
uklapa u okruenje, iznimno mu dodajui vrijednost u
savremenom vieetanom podzemnom parking prostoru.
The architecture of the building is based on the counterpoint
between the curving concrete frame (relating it to the
noteworthy Feroelektro building beside it) and the structural
glass faade with high-tech crystal doksat jutties (a feature
of traditional Bosnian architecture). All the buildings
functional zones (car park, supermarket, Sve za dom
(Everything for the home) centre, mall, commercial
premises, hotel, conference hall and meeting rooms) are
reflected in the features and faades of the building,
expressing its unity of form and content.The density of the
urban fabric in the city centre calls for a special approach to
public spaces. The square in front of the BBI Centre therefore
extends through the translucent ground floor of the building
and its sliding glass panes. In the summer, this fully open
ground-floor area draws in the open-air summer cafs
below the building and provides opportunities for holding
various events, launches, bazaars and gatherings. A highly
functional but simple traffic solution fully integrates the BBI
Centre into its surroundings, with the added value of a
modern multi-storey underground car park.

BBI centar
BBI Centre

Arhitekti/Architects: Slobodan Aneli Lokacija/Location: Sarajevo Godina/Year: 2005 Tip/Type: urbanistiki natjeaj, prva
nagrada/urbanistic competition, first prize Investicija/Investment: privatna/private Klijent/Client: BBI/Bosnia Bank International
BGP objekta/GBA: 54.000 m

228 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 229

DRUTVO SOCIETY Svjetlosni suner
Javni ivot Public life Projekt BBI centra na lokaciji nekadanje robne kue u
centralnoj gradskoj zoni za nau arhitektonsku scenu
jedan je od najznaajnih poslijeratnih projekata.
Predloeno rjeenje je primarno bilo motivirano
nostalgijom autora da se vrati memorija mjesta, ta da u
centru grada ponovo egzistira robna kua, a sama silueta
objekta je bila na neki nain determinirana volumenom
nekadanjeg objekta.elja je bila napraviti kuu
svjetlosni suner, koja bi danju upijala svijetlost, a nou
je kroz perforirani plat isijavala i tako komunicirala s
okolinom.Autor je inspiraciju pronaao u
prekovremenskim vrijednostima autohtone arhitekture
Bosne.Izlomljeni (folding) plat od lima bi ujedno bio i
vizuelno prihvatljiviji, na taj se nain pokuala umanjiti
voluminoznost objekta. Robna kua se u parteru otvara
prema trgu naglaenim liftovima,koji vode posjetioce na
krovnu terasu. Bono pozicioniran hotel, kao integralni
dio BBI centra, predloenim sadrajima u prizemlju
komunicirao bi s trgom i ulicom, to bi znaajno
doprinijelo uspostavljanju novog kvaliteta ovoga prostora.
BBI centar
BBI Centre
Arhitekti/Architects: Amir Vuk Saradnici/Collaborators: Lada Maglajli, Kenan Brkalija, Lamila Simii, Miron Ibrahimpai, Sanela Belko,
Lejla Huji, Rusmir izmi Lokacija/Location: Sarajevo Godina/Year: 2005. Tip/Type: arhitektonski natjeaj/architectural competition
Investicija/Investment: privatna/private Klijent/Client: BBI/Bosnia Bank International BGP objekta/GBA: 61.634 m
3D Redering: Rusmir izmi
230 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Soaking up the light
The BBI Centre project on the site of the old department
store in the city centre was one of this countrys most
significant post-war architectural projects.
The proposed design was motivated largely by the architects
sense of nostalgia, the desire to restore the memory of the
site so that the city centre would again have a department
store. The outline of the new building was to some extent
determined by the volume of its predecessor. The idea was
to build a house that, like a sponge, would soak up the light
by day and emit it through the perforated walls by night,
thus communicating with its setting. The architect drew his
inspiration from the timeless values of Bosnias indigenous
architecture. The folding sheet-metal cladding would also
be more acceptable visually, as a means of making the
building seem less voluminous.
The department store is open to the square at ground level,
accentuated by the lifts,conveying visitors up to the roof
terrace. The hotel to one side, an integral part of the BBI
Centre, would be linked via the proposed ground-floor
components with both the square and the street, forming a
significant contribution to the new quality of the site.
IN BIH 1995-2010 231
DRUTVO SOCIETY
Javni ivot Public life
Hotel se nalazi u novoj centralnoj zoni Istonog Sarajeva.
Dio poslijeratnog Sarajeva (na podruju Lukavice)
formirao se prema urbanistikom planu, na ranije slabo
naseljenom podruju. Nova stambena naselja pratila je
paralelna izgradnja javnih i poslovnih sadraja: sportske
dvorane, shopping centri, pozorita i slino. Graevinska
parcela zanimljivog trougaonog oblika iziskivala je od
autora izvjesnu vjetinu u prilagoavanju, sa to manje
gubitaka u funkcionalnom smislu. Autori nisu pokuavali
izbjei problem oblika parcele, naprotiv, trougaoni gabarit
doveden je do krajnje tenzije, dajui objektu jak karakter,
istiui ga u novoj centralnoj zoni grada.Bazina ideja
investitora i autora bila je da je tom dijelu grada potreban
objekat potpune multifunkcionalnosti, u kom e gosti
(poslovni ljudi, politiari, umjetnici i drugi posjetioci)
dobiti mogunost boravka, rada, susretanja, odmora,
relaksacije. etrdeset est smjetajnih jedinica prate
prostori konferencijske dvorane i salona, restorana sa vie
sala i prostranom krovnom restoranskom batom (kokteli),
prostori wellness centra u prizemlju, manji fitness kabinet
na krovnoj etai, gradska kafana, banka, nekoliko butika u
prizemlju te velika garaa sa parking prostorom na krovu,
iznad nje. vrsti, minimalistiki pristup oblikovanju,
proveden je postavljanjem objeene aluminijske fasade
istaknutih vertikala, a to sve uvruje okvir obloen
fasadnim drvenim panelima. Kompletan etani korpus
zgrade istaknut je dva metra u odnosu na prizemlje,
stvarajui tako dojam lebdeeg dominantnog, katnog
gabarita.
The site is in the new central zone of East Sarajevo, part of
post-war Sarajevo in Lukavica, being developed to an urban
plan in a previously thinly populated area. The new housing
developments are accompanied by the construction of public
and commercial facilities: sports centres, shopping centres,
theatres etc. The unusual triangular plot was a challenge to
the architects skill in adapting the design to achieve the
minimum loss of functionality. They made no attempt to
avoid the problem of the shape of the site; on the contrary,
they took the tension of the triangular footprint to its
extreme to give the building a strong character, which makes
it stand out in this new town centre. The basic idea of the
investor and architect was to provide this part of the city
with a fully multifunctional development offering visitors
(business people, politicians, artists and others) the
opportunity to work, meet, rest and relax. The forty-six units
are complemented by conference and meeting rooms, multi-
space restaurants and a spacious rooftop cocktail terrace, a
wellness centre on the roof level and a small gym on the
ground floor, a caf, a bank, a number of boutiques on the
ground floor, and a large garage on the roof. The solid,
minimalistic approach to the design was executed using an
aluminium curtain wall faade with prominent vertical
features, reinforced by a frame clad with wooden faade
panels. The entire upper floor tract of the building projects
out beyond the ground floor by two metres, giving the
impression that the main carcass is hovering.

Poslovna zgrada
Trins
Trins Ofce
building

Arhitekti/Architects: Slobodan Aneli Lokacija/Location: Lukavica, Istono Sarajevo/East Sarajevo Godina/Year: 2009-2010
Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Trinis Company BGP objekta/GBA: 5.800 m

232 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 233

 D
Drutvo Society
Javni prostor
Public space

92.

93.

94.
Sead Golo: Most V transverzala Bosmal City centar / Bridge on the 5th Transverse
Road, Bosmal City Centre, 2004. 103

Aleksandar Cigan: Most na Miljacki kod Akademije likovnih umjetnosti / Footbridge

over the Miljacka to the Fine Arts Academy, Sarajevo, 2006. 104

Adnan Alagi, Amila Hrusti, Bojan Kanli: Festina Lente Most na Miljacki kod
Akademije likovnih umjetnosti / Bridge over the Miljacka to the Fine Arts Academy,
Sarajevo, 2007. 105

95. Relja Ferui: Susreti Most na Miljacki kod Akademije likovnih umjetnosti / Bridge
over the Miljacka to the Fine Arts Academy, Sarajevo, 2006. 106

96. Milan Aleksi: Pasarela Starevica / Starevica footbridge, Banja Luka, 2008. 107

97. Adnan Drnda, Aleksandar Cigan, Lejla Kreevljakovi: Trg heroja / Heroes' Square,
Sarajevo, 1999. 108

98. Aner anovi: Trg slobode / Liberation Square (s rekonstrukcijom parkinga na dijelu
Torbegovog parka), Tuzla, 2008. Error! Bookmark not dened.

99. Mihailo Lujak, Dalibor Bjelica: Trg Krajine (centralni gradski trg) / Krajina Square,
Banja Luka, 2002. 110

100. Saa B. voro, Malina voro: Rekonstrukcija i ureenje ulice Kralja Petra I
Oslobodioca / Reconstruction and refurbishment of King Petar I the Liberator Street,
Prijedor, 2007-2009. 111

101. Diana Stupar, Slobodan Stupar: Luka ui centar / Port city centre, Banja Luka,
2004. 112

102. Saa B. voro, Dijana Simonovi, Malina voro, Nevena ebi, Marina Radulj, Predrag
Tonti: Rekonstrukcija i ureenje parka Mladen Stojanovi / Reconstruction and
refurbishment of the Mladen Stojanovi Park, Banja Luka, 2003-2007. 113

103. Danka Grbac, Vesna Nadadin-Ljubii: Ureenje centra sela / Redesign of the centre
of the village, 2010. 115

104. Sanja Gali-Grozdani. Igor Grozdani: Regulacioni plan Sarajevogas Bosnalijek /

Sarajevogas-Bosnalijek Regulatory Plan, Sarajevo, 1999. 116

105. Sanja Gali-Grozdani, Igor Grozdani: Univerzitetski kampus / University Campus,

Sarajevo, 2000. 117

106. Saa B. voro, Malina voro, Vladan oki, Anita Zrni: Rekonstrukcija podruja bive
kasarne / Reconstruction of the former barracks, Novi Grad, 2009. 118

107. Sanja Gali-Grozdani, Igor Grozdani: Sekundarni gradski centar Otoka / Otoka
secondary urban centre, Sarajevo, 1996. 119

108. Normal arhitektura (Emir Salki, Muhamed Serdarevi): NLB Bank, Sarajevo, 2008.
120

109. Milan Vujovi: Poslovni objekat / Commercial property, Banja Luka, 2005. 121

110. Mihailo Lujak: Inovacioni centar / Innovation Centre, Banja Luka, 2009. 122

111. Saa B. voro, Malina voro: Poslovni kompleks S2 / S2 commercial complex,

Prijedor, 2008/2009. 122

112. Kemal Hasibovi, Lejla Hasibovi: Poslovni kompleks S2, Sarajevo, 2009/2010.
124

113. Sanja Gali-Grozdani, Igor Grozdani: Milkos centar, Sarajevo, 2008. 125

114. Sead Golo: Bosmal City centar, Sarajevo, 2010. 126

115. Sanja Gali-Grozdani, Igor Grozdani: Importanne centar / Importanne Centre,

234 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 Sarajevo, 2010. 127 235
DRUTVO SOCIETY
Javni prostor Public space
Most na Petoj transverzali izgraen je uz glavni gradski
bulevar. Most se nalazi u neposrednoj blizini Bosmal City
centra u novom dijelu Sarajeva. Konstrukcija mosta je
podijeljena u dvije nezavisne cjeline dva mosta. Jedan
od osnovnih razloga za odabir takvog koncepta je
relativno mali raspon korita rijeke Miljacke te programski
zahtijevana irina mosta koju definiraju etiri kolske i
dvije pjeake trake. Ideja dvaju mostova takoer
naglaava longitudinalnu osovinu mosta, kao i
univerzalnu poruku dvojnosti koja je gotovo uvijek
prisutna u arhitekturi. Arhitekturu mosta odraava i
staklena ograda formirana u blagom luku, te sistem
indirektne rasvjete kojim su naglaeni stupci rasvjete
montirani izmeu dviju cjelina mosta. Ovaj most, uz svoju
primarnu funkciju povezivanja obala rijeke Miljacke i
direktnog pristupa objektu Bosmal City centra, ima i
simboliku ulogu, on je kapija koja snano markira ulaz
u naselje Hrasno.
The bridge on the 5th transverse road is on the main city
boulevard in Sarajevo, near the Bosmal City Centre in the
new part of Sarajevo. The construction of the bridge consists
of two separate sections in effect, two bridges. One reason
for this was the relatively narrow span of the River Miljacka
to be bridged, as well as the required width of the bridge,
consisting of four road lanes and two footpaths. The idea of
two bridges also highlights the long axis of the bridge as
well as the universal duality that is almost a constant in
architecture. The architecture of the bridge is also reflected
in the slight arch of the glass parapet and the system of
indirect lighting accentuating the lamp posts between the
two bridges. The bridge not only spans the River Miljacka
and provides direct access to the Bosmal City Centre building
but also symbolically marks the entrance to the Hrasno
housing development.

Most V
transverzala
Bridge on the 5th
Transverse Road

Arhitekti/Architects: GRUPA.ARH - Sead Golo Saradnici/Collaborators: Edi Kalji, Aleksandar Cigan Lokacija/Location: Sarajevo
Godina/Year: 2003/2004. Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: Zavod za izgradnju
kantona Sarajevo/Canton Development Institute Fotograf/Photographer: Amer Kapetanovi

236 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 237

DRUTVO SOCIETY Most iz Radieve ulice, odnosno sa Obale Kulina bana,
prema Akademiji likovnih umjetnosti trebao bi biti
Javni prostor Public space savremen, jednostavan, itljiv kao i informacija a
opet ponekad i enigmatian.
U ovom projektu ideja je bila da je nosiva konstrukcija
mosta svedena iskljuivo na funkcionalnu ulogu, a uloga
u formiranju vizuelnog identiteta data je drugim
elementima mosta. Proireni prilazni dio mostu iz ulice
Obala Kulina bana uvodi pjeaka u zone susretanja
formiraju ga dvije staze iroke 3,5 metara, odvojene
polutransparentnim panelima, koje su dovoljno uske da se
susretnu pogledi i drage osobe. Tokom dana bijeli paneli
sa elinim ojaanjima na trenutke gotovo sakrivaju
prolaznike, dok nono osvjetljenje poinje znatnije isticati
njihove vibrirajue siluete. Na dijelu mosta prema
saobraajnici integralni dio stijenke je informacija koja
poziva prolaznike da posjete izlobe i deavanja u
Akademiji i ispred nje. Proirenjem mosta ispred objekta u
vidu platoa (8 x 40 m) stvara se novi prostor sa fontanom
i mobilijarom koji daje objektu Akademije (nekadanja
evangelistika crkva; autor Karlo Parik, 1899) ono to do
sada nije imao prostor za okupljanje, prostrani skver
ispred ulazne fasade.
Most na Miljacki
kod Akademije
likovnih
umjetnosti
Footbridge over
the River Miljacka
to the Fine Arts
Academy
Arhitekti/Architects: Aleksandar Cigan Lokacija/Location: Sarajevo Godina/Year: 2007. Tip/Type: natjeaj/competition
Investicija/Investment: javna/public Klijent/Client: Opina Centar Sarajevo/Sarajevo Centar Municipality Fotograf/Photographer:
Amer Kapetanovi
238 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The footbridge over the Miljacka from Radieva Street and
the embankment known as Obala Kulina bana to the Fine
Arts Academy is to be modern, simple and readable as
information, and yet at times enigmatic.
The idea of this design was to reduce the bearing structure
of the bridge purely to its functional role, using other
elements to give the bridge its visual identity. The wide
access to the bridge from Obala Kulina bana Street invites
pedestrians onto the meeting zone, two footpaths 3.5 metres
wide, separated by semi-transparent panels, which are
narrow enough to allow for eye contact and greetings. By
day, the white panels with steel reinforcements momentarily
almost completely conceal passers-by, while by night the
lighting begins to highlight their vibrant silhouettes. A
notice board forms an integral part of the road end of the
bridge, inviting passers-by to visit the exhibitions and events
being held in the Academy. In front of the building, the
bridge widens out into an open space of 8 x 40 metres with
a fountain and street furniture, providing the Academy (the
former Evangelical Church, designed by Karlo Paik in 1899)
what it has hitherto lacked a spacious square outside the
main entrance.
IN BIH 1995-2010
DRUTVO SOCIETY
Javni prostor Public space
Osnovna ideja mosta je sjedinjenje profanog i duhovnog,
odnosno uspostavljanje balansa izmeu lijeve i desne
strane obale rijeke Miljacke. Prelazak preko mosta
predstavlja jedinstven doivljaj kako zbog svog
specifinog izgleda tako i zbog pogleda na koji se nailazi
pri prolasku kroz kapiju zatvoreni dio mosta. Festina
lente (lat. Pouri polako) najjednostavnije objanjava sam
koncept. Kapija mosta ujedno spaja i razdvaja dvije
obale, zadrava korisnika u svojoj unutranjosti, i na taj
nain ga priprema za ulazak u drugu dimenziju, budei u
njemu neku vrstu duhovnosti.
Kada se most posmatra s desne obale, iz Radieve ulice,
uoavaju se samo dijelovi objekta Akademije likovnih
umjetnosti, zbog ega se u posmatrau budi interesiranje
da pree preko mosta i percipira cjelinu objekta (doivljaj
tunela). Tehnoloka inovativnost rjeenja forme mosta i
moderan dizajn sainjavaju cjelinu koja postaje brend
Sarajeva.
The idea behind this design is that the profane and the
spiritual come together as one, achieving a balance between
the left and right banks of the River Miljacka. Crossing the
bridge is a unique experience on account both of its unusual
appearance and of the view through the gateway (the
covered section of the bridge). The simplest way to explain
the concept is in the Latin phrase Festina lente. The gateway
both unites and separates the two banks, detaining one
within it and thus preparing one to enter another dimension.
Approaching the bridge from the right bank (Radieva
Street), only part of the Fine Arts Academy can be seen, luring
one on to cross the bridge and see the whole building (the
experience of the tunnel).
The technologically innovative solution and modern design
of the bridge combine to create a trade-mark for Sarajevo.

Festina Lente
Most na Miljacki
kod Akademije
likovnih
umjetnosti
Bridge over the
River Miljacka to
the Fine Arts
Academy

Arhitekti/Architects: Adnan Alagi, Bojan Kanli, Amila Hrusti Saradnici/Collaborators: Tatjana Kovaevi, Hasan Mahmutagi
Lokacija/Location: Sarajevo Godina/Year: 2007. Tip/Type: natjeaj/competition Investicija/Investment: javna/public Klijent/Client:
Opina Centar Sarajevo/Sarajevo Centar Municipality Fotograf/Photographer: Bojan Kanli

240 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 241

DRUTVO SOCIETY Oni su vaniji od kua, svetiji, optiji od hramova. Svaiji i
prema svakom jednaki... (Ivo Andri, Mostovi)
Javni prostor Public space
Most kod Akademije likovnih umjetnosti predstavlja
zajedniki jezik dviju razliitih obala, ali kreiran vlastitim i
drugaijim izrazom nudi kontekstualni potencijal za nove
urbane aktivnosti.
Gradsko tkivo Sarajeva, strukturalno raznoliko i
geometrijski raznovrsno, ima rijeku Miljacku kao prirodnu
i morfoloku okosnicu koja izrazito naglaava raznolikosti
svojih dviju obala. To su fragmenti grada u kojem
urbanizam jo nije izbrisao stare trase kretanja.
A da li je rijeka spona ili barijera u ovom urbanom
prostoru? Mi je doivljavamo kao mogunost susreta u
kojem anonimni graanin, prolaznik ili eta postaje i biva
protagonistom naeg djela.
Jer most znai vie nego spojiti toku A s tokom B, most
je infrastruktura jednog pokreta u kojem se razliitim
ritmovima postiu razliiti ambijenti, raznovrsne
vizualizacije i prostori. Smjenjuju se senzorijalna iskustva
nanovo otkrivajui grad i njegove teksture, u pokretu
frame by frame, gdje svaki fotogram zaledi drukiji
gradski momenat.
Susreti Most na
Miljacki kod ALU
Meetings
Bridge over the
Miljacka to the
Fine Arts
Academy
Arhitekti/Architects: Relja Ferui Lokacija/Location: Sarajevo Godina/Year: 2007. Tip/Type: natjeaj/competition
Investicija/Investment: javna/public Klijent/Client: Opina Centar Sarajevo/Sarajevo Centar Municipality BGP objekta/GBA: 630 m2,
duina/length 40 m
242 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Bridges ... are more important than houses, and more sacred,
because more universal, than places of worship. They are the
same for everyone... (Ivo Andri, Bridges).
The footbridge to the Fine Arts Academy is a response in the
common language but two different accents of the two banks
of the river, creating the potential for new urban activities.
The River Miljacka is the natural and morphological
backbone of the structurally diverse and geometrically
complex urban fabric of Sarajevo, accentuating the
differences between its two banks. These are parts of the
city where urban planning has not yet effaced the old
pathways.
But is the river a meeting point or a barrier in this urban
fabric? We see it as an opportunity for encounters in which
the anonymous citizen, passer-by or pedestrian is the
protagonist in the story told by this work. A bridge is much
more than a structure linking point A and point B; it is the
infrastructure of a movement in which different rhythms
create a diversity of atmospheres, a variety of visualizations
and spaces. Sensate experiences succeed one another as
they reveal the city and its textures, frame by frame, with
each freezing a different image.
IN BIH 1995-2010 243
DRUTVO SOCIETY
Javni prostor Public space
Pasarela se nalazi na Bulevaru Desanke Maksimovi u
Banjoj Luci. Pozicionirana je tako da kao pjeaki prelaz
prvenstveno povezuje naselje Starevicu s Osnovnom
kolom Branko Radievi. Raspon joj je 52 metra sa
meuosloncem, a ukupna duina s rampama iznosi 83,30
metara.
Intencija pri formiranju i materijalizaciji bila je da
svakodnevno kretanje pasarelom bude doivljaj pri kojem
se prostori raslojavaju a poznato okruenje poprima novu
i neoekivanu dimenziju.
The footbridge, on Desanka Maksimovi Boulevard in Banja
Luka, links the residential area of Starevica with the Branko
Radievi Primary School. It has a span of 52 metres with a
middle support, and a total length including its ramps of
83.30 m.
The intention behind the design was to make the crossing
over the footbridge an experience in which space is
deconstructed and familiar surroundings take on a new and
unexpected dimension.

Pasarela
Starevica
Starevica
footbridge

Arhitekti/Architects: Milan Aleksi Saradnici/Collaborators: Branimir Orelj Lokacija/Location: Banja Luka Godina/Year: 2008/2009.
Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: Grad Banja Luka/City of Banja Luka Duina/Length:
83,30 m2 Fotograf/Photographer: Dejan ijuk, Dejan Savi

244 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 245

DRUTVO SOCIETY
Javni prostor Public space
ire okruenje Trga heroja, graeno sedamdesetih godina
prolog stoljea kao dio gradske zone stanovanja, ine
slobodnostojei viestambeni objekti. Trg heroja, sa
svojom formom poluzatvorenog bloka, izuzetak je od
ovog pravila, i to je njegov osnovni potencijal s aspekta
formiranja prostornih sekvenci, formiranja javnog i
polujavnog prostora. Taj potencijal u prostoru nije
iskoriten. Zateeno stanje na terenu je da Trg heroja
dijeli sudbinu svih otvorenih prostora novog dijela grada.
On je otvoreni parking prostor, a ne otvoreni javni prostor.
Cilj urbanistiko-arhitektonskog rjeenja je prije svega bio
da ovaj prostor dobije prostorne atribute trga. Parkirani
automobili su premjeteni, ime su reafirmirani i direktno
ukljueni u aktivnosti trga javni sadraji u prizemlju
okolnih objekata. Dizajnirana je fontana, kao centralni
fokus, a nizom ulinih svjetiljki potcrtana je dijagonala
trga i usmjerena panje ka neboderima, reperima ovog
dijela grada.U svrhu animiranja ireg okruenja, pristupi
trgu su naglaeni razliitom materijalizacijom fasada
objekata iznad pasaa i novoprojektiranom alejom lipa
koja ulazi i u prostor trga.Cilj urbanistikog rjeenja ireg
prostornog obuhvata bio je oivljavanje cijelog prostora
kroz njegovo permanentno koritenje. U tom smislu
izdvojene su dvije ciljne skupine penzioneri i djeca, koji
taj prostor mogu koristiti tokom cijelog dana i kojima su
posveeni otvoreni prostori koji gravitiraju centralnom
trgu.
Trg heroja, Heroes Square, is set in a 1970s residential
quarter of free-standing tower blocks. The square, forming a
semi-enclosed block, constitutes the exception, offering the
potential to give rise to spatial sequences with semi-public
and public spaces, a potential that has yet to be exploited.
Rather, the square currently shares the fate of every open
space in the new part of the city it has become an open-air
car park rather than a public space.
The aim of the redesign was primarily to recreate the space
as a true square. The parked cars are removed, restoring the
link between the ground-floor shops and businesses in the
surrounding buildings and the public life of the square. A
central focus is created with a fountain, while the diagonal
lines of street lamps draw the eye to the tower blocks that
are the landmarks of this part of the city. So as to liven up
the surroundings, the approaches to the square have been
accentuated by recladding the faades of the buildings above
with various contemporary materials and by an avenue of
lime trees that forms part of the square itself.
One of the aims of the urban plan for the wider area was to
revitalize it by ensuring that it is in constant use. To this
end, two target groups were identified, children and the
elderly, who are the most likely to make use of it throughout
the day and to whom the open spaces gravitating towards
the central square are dedicated.

Trg heroja
Heroes Square

Arhitekti/Architects: Aleksandar Cigan, Adnan Drnda, Lejla Kreevljakovi Lokacija/Location: Sarajevo Godina/Year: 1999. Tip/Type:
natjeaj, prva nagrada/competition, first prize Investicija/Investment: javna/public Klijent/Client: Opina Novo Sarajevo/Novo Sarajevo
Municipality Povrina parcele/Site area: 26.593 m2

246 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 247

DRUTVO SOCIETY
Javni prostor Public space
Smjeten u starom gradskom jezgru Tuzle, na mjestu
susretanja razliitih kultura, graditeljskog naslijea iz
razliitih vremenskih perioda (damija s esmom iz
otomanskog perioda, poslovni objekt u neobaroknom stilu
i niz savremenih stambeno-poslovnih objekata), Trg
slobode je predstavljao izazov i novu fazu u ureenju
gradske pjeake zone. Kao i za svaki trg, tako i za ovaj
centralni gradski trg koji zauzima povrinu od oko 6.400
m2, pored obrade partera i odabira urbanog mobilijara,
presudan znaaj imaju okolni objekti, njihovi volumeni i
fasade. Kao kontrast stabilnosti, mirnoi i simetriji
objekata koji ga okruuju, novooblikovani ambijent je
neoekivan i asimetrian, ambijent pokreta u prostoru sa
zatalasanim linijama i igrom vodenih mlazova fontane.
Razigranost forme pojaana je filigranskim rjeenjem
irokog stepenita ukraenog kamenim hridima koje
neoekivano izrastaju iz ravni platoa. Diskretan i
nenametljiv dizajn urbanog mobilijara korespondira s
idejom pokreta i zatalasanih linija, a motivi sa
srednjovjekovnih bosanskih steaka kao da naviru iz
davnina i daju mu posebnu i jedinstvenu teinu. Stari
platan (Platanus acerifolia) jedina je vertikala unutar
otvorenog prostora trga. Jasan prostorni koncept sa dobro
osmiljenim parterom samo je prva faza u realizaciji Trga
slobode, dok e izgradnja planiranih objekata s njegove
sjeverne i istone strane u potpunosti uokviriti trg i
konano kompletirati njegov novi identitet.
Located in the old city centre of Tuzla, a meeting place of
diverse cultures, historic buildings from different periods (the
Ottoman-period mosque with its fountain and various neo-
baroque and modern office buildings), Freedom Square is a
challenge and a new stage in the layout of the citys
pedestrian zone. As for every square, so for this central
square with an area of about 6,400 m2 the surrounding
buildings their faades and volumes are no less
important than the layout and finish of the square itself and
the choice of urban furniture. By way of contrast with the
stability, serenity and symmetry of the buildings surrounding
the square, the newly-designed area is unexpected and
asymmetrical, creating an atmosphere of movement in space
with wavy lines and jets of water from the fountains. The
exuberant forms are enhanced by the filigree-like design of
the wide steps decorated with rocky cliffs rising
unexpectedly from the flat surface. The discreet, unobtrusive
design of the urban furniture echoes the idea of movement
and wavy lines, with motifs drawn from mediaeval Bosnian
steak tombstones, as if welling up from the remote past,
giving it a unique sense of gravity. An old plane tree
(Platanus acerifolia) is the only vertical accent in the open
space of the square. A clear spatial concept with a well-
conceived treatment of the ground is merely the first stage in
the execution of Freedom Square, while the construction of
the buildings planned for the north and east sides will
complete the frame of the square and consummate its new
identity.

Trg slobode u
Tuzli
Freedom Square
in Tuzla

Arhitekti/Architects: Opina Tuzla, Zavod za urbanizam opine Tuzla Aner anovi Saradnici/Collaborators: Nedad Deli, Amer
Karabegovi, Miralem Muli, Nedim Zoni, Damir Hamustafi, Slobodan Jerkovi, Samira Mekvi Lokacija/Location: Tuzla Godina/Year:
2008/2009. Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: Opina Tuzla/Municipality Tuzla
Povrina parcele/Site area: 6.400 m2 Fotograf/Photographer: Ahmet Bajri Blicko, Ivica iak

248 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 249

DRUTVO SOCIETY Trg Krajine nalazi se izmeu najznaajnije gradske
peake ulice i Kastela, i predstavlja centralni otvoreni
Javni prostor Public space prostor u Banjoj Luci.
Pravac ka Kastelu predstavlja najlepu vizuru u gradu
mada ova vizura danas ne postoji u mentalnim mapama
graana. Nedefinisan peaki saobraaj, nekoherentnost
povrine i volumena trga, potpuna pasivnost sadraja uz
trg i nepostojanje manjih, intimnih ambijenata, uinili su
trg prolaznom peakom povrinom. Predvienim
projektom Trg Krajine, koji ine veliki manifestacioni deo i
deo sa malim ambijentima, treba da postane mesto
dogaaja, mesto urbanog spektakla, gde su okupljanje i
zadravanje korisnika njegova znaajna funkcija. Rezultat
ovakvog koncepta jeste transformacija prolazne peake
povrine u trg i transformacija prolaznika u aktivne
korisnike trga. Jedan od ciljeva je i razvoj urbanih
perspektiva i vizura koji je ostvaren afirmisanjem i
naglaavanjem pravca prema Kastelu. Na ovom glavnom
pravcu osi se u kontinuitetu nadovezuju na most, zatim
fontana sa dvostrukim nizom vodoskoka, niz intimnih
ambijenata koji se zavravaju sa Spomenikom miru.
Glavna osa i pravci slojeva povrinske obrade povezuju
dva dela stvarajui utisak tekueg prostora. Razigrana
geometrija postojeeg otvora zamenjena je neutralnom
geometrijom kruga, ime je postignuta kvalitetna
artikulacija prostora.
Centralni gradski
trg Trg Krajine
Krajina Square,
the main town
square
Arhitekti/Architects: Urbanistiki zavod Republike Srpske, Banja Luka/Planning Authority of Republika Srpska, Banja Luka Mihailo Lujak,
Dalibor Bjelica Lokacija/Location: Banja Luka Godina/Year: 2002. Tip/Type: natjeaj, prva nagrada/competition, first prize
Investicija/Investment: javna/public Klijent/Client: Grad Banja Luka/City of Banja Luka Povrina lokacije/Site area: 6.000 m2
Fotograf/Photographer: Mihailo Lujak
250 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
Krajina Square, located between the citys main pedestrian
street and Kastel, constitutes the central open space in Banja
Luka.
The view of Kastel is the citys finest vista, but no longer
forms part of the mind map of its citizens. It is surrounded by
large buildings, the tree-lined King Petar I Karadjorjevi
Street, and single-storey buildings. The ill-defined pedestrian
precinct, and the confusion of the Square, with its totally
passive elements and the absence of any small, more
intimate spaces, have turned it into a mere transit zone. The
proposed design for the Square, consisting of a large space
for events and a number of mini townscapes, should
transform it into a place where events take place, an urban
spectacle where its main purpose is for people to meet and
spend time. It will no longer be a space to cross, but a
square where passers-by become active beneficiaries of its
facilities. Another objective is to enhance the citys urban
vistas, achieved by highlighting the view of Kastel. This is
the main axis, formed by a bridge, a fountain with a double
row of jets, a succession of intimate mini townscapes ending
with a Peace Monument. The main axis and the lines of the
surface finishes link the two parts, creating the impression
that they form a continuous space. The jumbled geometry of
the existing opening has been replaced by the neutral
geometry of the circle, making the articulation of space more
elegant and of higher quality.
IN BIH 1995-2010 251
DRUTVO SOCIETY
Javni prostor Public space
Tema ovoga projekta je transformacija zaputenog
urbanog prostora u centru grada u prostor koji treba na
nov nain inicirati razliite socijalne susrete i
humanizirati gradski ambijent. esta poava u gradovima
e da bitni avni prostori unutar gradskog tkiva nose
obiljee zaputenosti, privremenih reenja ili divlje
izgraenosti. Takav primer bilo e i podrue edine
peake zone u Priedoru, prostor centralnog gradskog
trga i Ulice Kralja Petra I Oslobodioca. Predloenom
transformaciom arhitektonskog okvira trga autori uvode
elemente izraanosti i zatienosti. Postoei kolski
saobraa izmeten e izvan prostora trga, to bi u
budunosti trebalo da omogui nastanak nove fizike
strukture i oblikue prostor trga u trapez ie se stranice
suavau prema obektu robne kue Patria. Tako bi i
izvedeni pripadaui plato, zamiljen kao pozornica
gradske scene, zaivio kao mesto za susrete u gradu,
avna okupljanja i kulturne manifestacie. Na prostoru trga
poploanje i urbani mobiliar su edinstveno rieeni.
Kamen u razliitim variantama obrade igra glavnu ulogu
u oblikovanju prostora gradskog trga. Novi sistem
osvetljenja, uvoenje prirodnih i skulpturalnih
elemenata, voda, prostor za igru dece uinili su da
izdueni prostor peake ulice poprimi karakter velikog
linearnog trga. U traganju za kontinuitetom i u pokuau
nastavljanja niti koa bi povezala prekinuti slied
istoriskih slika ovog mesta primijenjeni su savremeni
materiali pri tretmanu partera, s ciljem da kao
kontrapunkt pokau i poaau svu istorisku i
ambientalnu vriednost prostora.
The subject of this project is the transformation of a derelict
urban area in the town centre into a place that should
initiate a variety of social encounters and humanize the
urban environment in novel ways.
Major public areas within the urban fabric of towns are often
are in a state of neglect, addressed by interim solutions or
uncontrolled construction. This was the case with the only
pedestrian precinct in Prijedor, the central square and King
Petar I Street. The proposed transformation of the
architectural framework of the square introduces the sense of
clarity and security. The square has been closed to traffic,
which should make it possible to create a new layout,
turning the square into a trapezoid in plan, tapering towards
the Patrija department store. The accompanying forecourt,
designed as an urban stage, would become a meeting point
and a place for public gatherings and cultural events. In the
square itself, the paving and street furniture are of uniform
design. Stone in a range of finishes takes centre stage in the
formation of the square. New street lighting, the
introduction of natural and sculptural features, water and a
childrens playground give the pedestrian street the nature of
a large, elongated square. In their quest for continuity and
the attempt to restore the thread linking the broken
sequence of historical images of the site, the architects used
modern materials for the paved area as a counterpoint to the
historical and townscape values of the area.

Rekonstrukcija i
ureenje Ul.
Kralja Petra I
Oslobodioca
Reconstruction
and
refurbishment of
King Petar I the
Liberator Str.

Arhitekti/Architects: Saa B. voro, Malina voro / 4+arhitekti 4+Architects/ Lokacija/Location: Prijedor Godina/Year: 2005-2009.
Tip/Type: natjeaj/competition Investicija/Investment: javna/public Klijent/Client: Optina Prijedor/Prijedor Municipality Povrina
lokacije/Site area: 19.800 m2 Fotograf/Photographer: Saa B. voro, Malina voro

252 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 253

DRUTVO SOCIETY
Javni prostor Public space
Kapija Krenuvi od Trga Krajine, definisane su dvije
potpune suprotnosti Gospodska ulica, sa autentinim
nasljeem i specifinom atmosferom ubrzane trgovake
ulice, i nedefinisana megapraznina ispred robne kue
Boska, koju se neko usudio da nazove trgom. Da se
odredi polazite.
The gateway - starting from Krajina Square, two complete
opposites were defined Gospodska Street, with its
authentic heritage and the atmosphere of a busy commercial
street, and the large, undefined void outside the Boska
department store, that someone has had the nerve to call a
square. To define the start.

Dva trga Kompleksnost remodelovanja trga nastala je
onog trenutka kada je odlueno da se on proiri i dobije
znaaj centralnog gradskog mjesta, a uz to i da pomiri
nekoliko zateenih matrica i geneza nastanka okolne
urbane strukture. Da crkva dobije zamiljeni okvir, da trg
bude cjelina, podijeljen i povezan putem kojim se esto,
barem u Banjoj Luci, ide. Brod Polaritet izmeu dviju
suprotnih dua trga najlake je savladati upravo
graevinom, koja moe, za razliku od zelenila, tano
artikulisati nivo povezanosti i razdvojenosti, jer joj ne
opada lie. I da grad dobije objekat koji bi na pravi nain
predstavljao njegovo veliko srce. Pjaceta ispred bioskopa
Da se artikulie rupa i inscenira prekid. Pjaceta ispred
pozorita Takav tretman ovog prostora je u saglasnosti
sa znaajem ovog objekta u kulturnom ivotu grada. Park i
teatar na otvorenom Teatar daje zavrnu rije u kretanju
kroz pjeaku zonu i razdvaja tok na dva pravca, pjacetu
ispred pozorita i park. I da kraj omogui poetak.
Two squares - the complexity of this make-over of the square
began with the decision to enlarge it and make it the central
city square, as well as reconciling some of the existing urban
matrixes and the genesis of the surrounding urban
structures. To provide the church with its proper context and
to make the square a single entity, it is both divided and
connected by the path usually taken, at least in Banja Luka.
The ship - the polarity between the two opposing souls of
the square was most readily bridged by a built structure
which, unlike trees, is an exact articulation of the level of
connection and disconnection, since it has no leaves to shed.
It was also a means of providing the city with a building that
would properly represent its great heart. Cinema square -
designed to articulate and set the stage for a void. Theatre
square - the treatment of this space is in line with the
importance of the building in the citys cultural life. Open-air
theatre and park - The theatre is the epilogue to the
pedestrian precinct, dividing the pedestrian flow into two,
the square outside the theatre, and the park. The end makes
the beginning possible.

Luka ui
centar
The Port Banja
Lukas city centre

Arhitekti/Architects: UNA ininjering Diana Stupar, Slobodan Stupar Saradnici/Collaborators: Boris Prli, Dragan Raili, Dragana Hrki,
Zvjezdana Milainovi, Rada Latinovi, Sonja Rapaji, Milana Rokvi, Rada Stupar Lokacija/Location: Banja Luka Godina/Year: 2004.
Tip/Type: natjeaj/competition Investicija/Investment: javna/public Klijent/Client: Grad Banja Luka/City of Banja Luka Povrina
lokacije/Site area: 200.00 m2 BGP objekta/GBA: 70.000 m2

254 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 255

DRUTVO SOCIETY
Javni prostor Public space
Rekonstrukcija i ureenje parka Mladen Stojanovi u
Banjoj Luci zasnovani su na naglaavanju atraktivnosti i
raznovrsnosti, uz ouvanje karaktera otvorenosti i
prirodnosti parka, odnosno slobodnog, pejzanog naina
ureenja.
Arhitektonsko-urbanistiki koncept razvijen je kroz proces
uravnoteenja polarnosti ili razliitosti. Traganje za
pravom mjerom stvorenog, urbanog i ureenog u okviru
slobodnog i arhainog, kao i uspostavljanje dinamine
smjene raznovrsnih prostora (razliito oblikovanih ili
namijenjenih razliitim korisnicima), najsaetije upuuje
na odabranu koncepciju parka.
The concept accentuates the charm and heterogeneity of the
park, while preserving its open, natural character and scenic
landscape.
This architectural and urban planning concept was
developed through a process of balancing opposites or
differences. The most concise way of describing the chosen
concept is as a quest for the right proportion between the
created, urban and landscaped within the free and archaic,
and as an dynamic alternation of various settings (different
landscaping solutions or settings intended for different
users).

Park Mladen
Stojanovi
Mladen
Stojanovi Park

Arhitekti/Architects: Arhitektonsko-graevinski fakultet Univerziteta u Banjoj Luci/Faculty of Architecture and Civil Engineering, University
of Banja Luka Saa B. voro, Dijana Simonovi, Malina voro, Nevena ebi, Marina Radulj, Predrag Tonti Lokacija/Location: Banja
Luka Godina/Year: 2003-2007. Tip/Type: natjeaj /competition Investicija/Investment: javna/public Klijent/Client: Grad Banja
Luka/City of Banja Luka Povrina lokacije/Site area: 116.950 m2 3D model: Vladimir Stanarevi

256 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 257

DRUTVO SOCIETY
Javni prostor Public space
Projektom regulisanja saobraaja i obnavljanja kamenih
terasa i graevina centar sela novom podjelom dobija
dodatne sadraje i postaje sredite okupljanja mjetana i
njihovih posjetilaca. Glavna ulica vodi ispod kole,
spomenika i Doma kulture, u kome se nalazi i kafana.
Seljani su se uvijek tu okupljali.
The plan to redirect traffic and renovate the stone-walled
terraces and buildings is providing the centre of the village
with additional facilities, making it a central meeting point
for local residents and visitors alike. The High Street runs
below the school, the Monument and the Cultural Centre
with its caf, where local residents have always gathered.

Ovoj terasi se dodaju novi sadraji pozornica i gledalite
na otvorenom, postavlja se platno za videoprojekcije,
kola se pretvara u hostel s prodavnicom. Gustom
sadnjom drvea zalee ovih objekata postaje sjenoviti
umarak za miran odmor u vrelim ljetnim danima, a
kolske bate prerastaju u travnati teren za igre loptom i
uukano djeije igralite.Sredinji dio donjeg platoa
zauzima pravilan kamenom poploani trg. Klupe su
ozidane, tako da ostavljaju prolaz za kola, ali spreavaju
njihovo zaustavljanje. Projektovana je nova ulica ka
donjem dijelu sela. Trouglasti prostor koji se tako pojavio
otvoren je za susretanje stepenita i nastao je mali
intimni trg sa kaskadnom fontanom. Veliki nagib terena je
rijeen terasiranjem. Osim stepenita, grade se rampe,
koje u potpunosti savladavaju visinske razlike svi
sadraji postaju dostupni i osobama sa invaliditetom. Nad
crpnom stanicom je izgraena terasa, koja postaje mjesto
na kome se stjeu stepenice i rampe, koje savladavaju
razliite nivoe ovih terasa.
New facilities are being added to this terrace: an open-air
stage and belvedere and a screen for video projections. In
addition, the school is being converted into a hostel with a
shop. Close-planted trees form the backdrop to these
buildings, turning the site into a shady, restful wooded area
during the hot summer days, while the school yard becomes
a grassed playing field for ball games and a cosy childrens
playground. The centre of the lower plateau is occupied by a
square paved with flagstones. The benches are built in to
leave space for cars to pass but to prevent parking.A new
street leading towards the lower end of the village has been
designed, creating a triangular open space where the steps
meet and a small, enclosed square with a cascading
fountain.The steeply sloping site has been terraced. Ramps
are to be built as well as steps to provide wheelchair access
to all the facilities. The small terrace built over the pumping
station becomes the point at which the steps and ramps
connecting the different levels of the terraces meet.

Ureenje centra
sela Prebilovci
Redesign of the
centre of the
village of
Prebilovci

Arhitekti/Architects: DAD Vesna Nadadin-Ljubii, Danka Grbac Lokacija/Location: Prebilovci Godina/Year: 2010. Tip/Type:
ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Fondacija Prebilovci/Foundation Prebilovci BGP
objekta/GBA: 5.000 m2

258 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 259

DRUTVO SOCIETY
Javni prostor Public space
Regulacioni plan Sarajevogas Bosnalijek definiraju
urbana platforma sa disperzno lociranim pojedinanim
objektima, formirajui na taj nain novu topografiju
doline.
Regulacioni plan Sarajevogas Bosnalijek tretira zonu
sjeverno od gradskog centra Marijin-Dvora u Sarajevu.
Lokacija je definirana dolinom koja se prostire u pravcu
sjever jug i nalazi se izmeu dviju padina sa stambenim
naseljima.
Program obuhvata izgradnju glavne gradske
saobraajnice prve transverzale, nove tramvajske linije,
izgradnju tehnike stanice za eljeznicu, kao i izgradnju
poslovnih, uslunih i prodajnih sadraja.
Forma urbanih platformi je komponirana prema
postojeim i planiranim gradskim tokovima i procesima,
kao npr. prema glavnoj ulici, tramvajskoj liniji, eljeznikoj
pruzi
Visoka gustoa novih sadraja ispod urbane platforme
kreirana je tako da istovremeno formira novi gradski
teritorij kao dodatni razvojni potencijal koji je iskoriten
za lociranje pojedinanih objekata na platformi.
The Sarajevogas-Bosnalijek Master plan is defined by urban
platform with new single dispersed buildings, forming the
new topography of the valley.
The Sarajevogas-Bosnalijek Master plan covers the area
north of Marijin Dvor in the city centre, lying in a north-south
valley between two built-up residential hillsides.
The programme includes the construction of a new road, the
first transverse road, a new tram-line and a railway service
station, and the development of new offices, shops and
service facilities.
The urban platform is shaped by the existing and projected
traffic flows leading to the main road, the tram-line, the
railway and so on.
The high density of these new facilities beneath the urban
platform is designed to create a new urban area for
additional development potential, used when locating the
various free-standing buildings on the platform.

Urbana platforma
Sarajevogas
The Urban
Platform
Sarajevogas

Arhitekti/Architects: Studio non stop Sanja Gali-Grozdani, Igor Grozdani Saradnici/Collaborators: Edin Avdibegovi, Hasnija Kazi
Lokacija/Location: Veleii, Sarajevo Godina/Year: 1999/2000. Tip/Type: ugovor/commission Investicija/Investment: javna/public
Klijent/Client: Zavod za planiranje razvoja Kantona Sarajevo/Canton of Sarajevo institute for Canton planning Povrina lokacije/Site
area: 98.000 m2 BGP objekta/GBA: 148.000 m2 Fotograf/Photographer: Studio non stop

260 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 261

DRUTVO SOCIETY Univerzitetski kampus u Sarajevu formiran je kao sistem The Sarajevo University Campus consists of a system of built-
izgraenih i neizgraenih urbanih traka koje povezuju up and vacant strips reconnecting the severed urban fabric of
Javni prostor Public space pokidano urbano tkivo starog i novog dijela grada. the old and new parts of the city.

Podruje natjeaja, biva kasarna Maral Tito, povezuje
glavni gradski razvojni pravac istok zapad s razvojnim
pravcem prema sjeveru. Pravac istok zapad, u skladu sa
svojim intenzitetom gradskih tokova, definiran je kao
osnovna silnica koja povezuje stari i novi dio grada.Urbani
kampus je s objektima 14 fakulteta pozicioniran u
srednjoj zoni lokacije, izmeu dviju zelenih traka,
urbanom umom za odmor na jugu i sportskim parkom za
rekreaciju na sjeveru. Javne funkcije Univerziteta
orijentirane su prema glavnoj gradskoj osovini i novom
univerzitetskom pjeakom krunom trgu. Trake objekata
su definirane kao operativni sistem transformacija izmeu
klasine strukture blokova starog grada i moderne
tapiaste strukture novog grada. To je veoma operativan
sistem, koji daje mogunost razliitih korelacija,
dispozicija i interakcija.
U makromjerilu centralna traka je naglaena na svom
istonom i zapadnom fokusu s postojeim i
novoplaniranim neboderima, koji postaju gradski magneti
i mjesta gravitacije. U mikromjerilu centralna traka je na
svojim krajevima naglaena sa dva denivelirana pjeaka
trga, kvadratnim na istonoj i krunim na zapadnoj strani.
The competition site, the former Marshal Tito military
barracks, connects the main east-west axis along which the
city developed with its northward development. The busy
east-west axis is regarded as the line of force connecting the
old city and the new.The urban Campus and its fourteen
faculty buildings are in the centre of the site, between two
strips of green an urban leisure park to the south and a
sports and recreation park to the north. The Universitys
public services face the main urban axis and the new circular
pedestrian plaza. The proposed built-up strips constitute a
practical transition between the classic blocks of the old city
and the modern linear structures of the new town. .The
system is very operational, providing opportunities for a
variety correlations, layouts and interactions.
On the macro-scale, the central belt is accentuated at its east
and west focal points, with existing and newly-planned high-
rise buildings becoming the citys magnets and points of
gravitation. On the micro-scale, the central belt is
accentuated at either end by two sunken pedestrian plazas,
one quadrangular, to the east and the other circular, to the
west.

Urbane trake
Univerzitetski
kampus
Urban Strips
University
Campus
New city - Old city connecting stripes

Super imposition of central square functions

Arhitekti/Architects: Studio non stop Sanja Gali-Grozdani, Igor Grozdani Saradnici/Collaborators: Edin Avdibegovi, Hasnija Kazi,
Sanel Avdagi, Adnan Zorani Lokacija/Location: Biva kasarna Maral Tito/Former Titos Baracks,Sarajevo Godina/Year: 2000 Tip/Type:
natjeaj, trea nagrada/competition, third prize Investicija/Investment: javna/public Klijent/Client: Zavod za planiranje razvoja Kantona
Sarajevo/Canton of Sarajevo institute for Canton planninga Povrina lokacije/Site area: 439.000 m2 BGP objekta/GBA: 420.600 m2

262 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 263

DRUTVO SOCIETY U urbano matrici centralne zone Novog Grada
prepoznatljivo e nekoliko prostornih celina koe svoim
Javni prostor Public space karakteristikama i odnosom prema okruenju
predstavljau osnovu budueg razvoa grada.
U tom smislu se podrue bive kasarne izdvaa kao
autohtona prostorna celina koa ima sljedee sadrae:
Sportsko-rekreativni obekat e formiran funkcionalnom i
oblikovnom rekonstrukciom i dogradnjom postoeeg
skladita. Kulturno-edukativni centar je zamiljen kao
vienamenski heterogeni obekat proektovan na lokacii
postoeeg obekta kasarne predvienog za uklanjanje.
Usluno-ugostiteljski obekat e proektovan kao obekat
restoranskog karaktera namienjen za ishranu korisnika
centra, ali i za pruanje usluga eksternim korisnicima.
Smetane edinice su proektovane kao samostalni
obekti u nizu predvieni za smeta korisnika centra.
Sportska borilita su proektovana kao otvoreni tereni:
dva teniska terena, vienamenski teren za mali fudbal i
rukomet (20 x 40 m), sa mogunou formiranja dvaju ili
triju odbokakih ili basket terena, vienamenski teren za
koarku i odboku (15 x 28 m). avne povrine i otvoreni
prostori su proektovani kao sistem komunikacia izmeu
raznorodnih sadraa i postoeih zelenih kapaciteta. U
oblikovnom izrazu su iskoriene postoee forme koe se
zadravau (skladite) sa eljom da se napravi kontinuitet
sa zateenim artefaktima u prostoru. Novoizgraeni
obekti imau svedene oblike uz primenu savremenih
materiala. Preovladavau materiali u svom osnovnom
obliku beton, elik i staklo, te drvo kao material koi
integrie izgraene strukture u dati ambient.
Rekonstrukcija
podruja bive
kasarne
Reconstruction of
the former
barracks
Arhitekti/Architects: Arhitektonsko graevinski fakultet Univerziteta u Banjoj Luci/Architecture and Civil Engineering University of Banja
Luka Saa B. voro, Malina voro, Vladan oki, Anita Zrni Lokacija/Location: Biva kasarna/ Former barack Banja Luka Godina/Year:
2009. Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: Optina Novi Grad/Novi Grad Municipality
Povrina lokacije/Site area: 45.000 m2 BGP objekta/GBA: 9.000 m2 3D model: Vladimir Stanarevi
264 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The urban matrix of the central area of Novi Grad consists of
a number of identifiable spatial entities with their own
features and relations with their surroundings, forming the
basis for the future development of the town.
Among these, the former military barracks will stand out as
an indigenous entity with the following features: a sports
and recreation facility, created by reconstructing, extending
and converting an existing storage facility; a cultural and
education centre conceived as a multifunctional,
heterogeneous building on the site of an existing building
earmarked for demolition; a restaurant, designed both as a
campus canteen and for the general public; halls of
residence, designed as a series of detached buildings
providing accommodation for campus users; an open-air
sports ground with two tennis courts, a multipurpose mini
football and handball field (20 x 40 m) which could also be
reorganized to provide two or three volleyball or basketball
courts, and a multipurpose basketball and volleyball court
(15 x 28 m); and public open spaces, designed as a system of
communication between the various facilities and the
existing green areas. The intention is to use the form of the
building being retained (the storage facility) to create
continuity with the existing space. The new buildings are
composed of clear, simple forms and modern materials,
mainly undisguised concrete, steel and glass together
with wood to integrate the buildings into their natural
setting.
IN BIH 1995-2010 265
DRUTVO SOCIETY
Javni prostor Public space
Sekundarni gradski centar Otoka formiran je kao
kompaktni megablok koji je definiran preklapanjem
razliitih istorijskih urbanih matrica karakteristinih za
grad Sarajevo.
Koncept ini interpolacija novog urbanog megabloka u
postojee urbano ostrvo formirano glavnom gradskom
saobraajnicom i rijenim meandrom. Ovaj proces moe
biti opisan kao formiranje kompaktnog komada grada u
novom gradskom podruju koje je izgubilo sav svoj
urbanitet.
Megastrukture novih naselja koje okruuju lokaciju
definiraju vanjsku dimenziju novog megabloka, dajui na
odreeni nain percepcijski balans s okruenjem.
Struktura jednostavnih tapiastih volumena objekata
preuzeta je iz urbanih matrica stambenih naselja iz
ezdesetih godina dvadesetog stoljea. Iz austrougarske
matrice preuzeta su mjerila i proporcije ulica, pjaceta i
trgova. Koncept sitnih radnji oko damije preuzet je iz
urbane strukture arije. Mjerilo i atmosfera unutar
megabloka odgovara mjerilu i atmosferi gustih urbanih
matrica u centru grada.
Na taj nain prostor sauvan kompaktnou fizike
strukture centra ostaje slobodan za programske kategorije
kao to su tematski vrtovi, djeija igralita, sportske i
rekreacijske aktivnosti itd.
The Otoka secondary city centre is designed as a compact
megablock defined by the superimposition of the various
historic urban matrices typical of the city of Sarajevo.
The idea is to insert the new urban megablock into the
existing urban island formed by the main road and the river.
The process could be described as forming a compact
segment of the city in a new urban area that has lost its
urbanity.
The megastructures of the new housing developments
surrounding the site define its external dimensions,
providing a sense of equilibrium with the setting. The
structure of the simple bar-shaped volumes of the buildings
echoes that of the urban housing developments of the
1960s, while the scale of the squares and streets is that of
the Austro-Hungarian urban fabric matrix, and the idea of
small shops around a mosque has been borrowed from the
urban structure of the old Ottoman bazaar area known as
Baarija. The scale and atmosphere within the megablock
correspond to the scale and atmosphere of the dense urban
fabric matrix of the city centre.
The space saved by such a compact structure is left free for
various amenities such as thematic gardens, childrens
playgrounds, sports and recreation facilities etc.

Kompaktni blok
1. Megablock from
Otoka 1980s

Compact Block +
Otoka

2. Stick structure
from 1950-60s

3. City squares from

XVIII-XIX cent.

4. Charshija
structure from
XVI-XVIII cent.

Superimposition
of city matrix

Arhitekti/Architects: Studio non stop Sanja Gali-Grozdani, Igor Grozdani Lokacija/Location: Otoka, Sarajevo Godina/Year: 1996.
Tip/Type: natjeaj, druga nagrada/competition, second prize Investicija/Investment: javna/public Klijent/Client: Zavod za planiranje
razvoja Kantona Sarajevo/Canton of Sarajevo institute for Canton planning BGP objekta/GBA: 57.500 m2 Fotograf/Photographer: Studio
non stop

266 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 267

DRUTVO SOCIETY
Javni prostor Public space
Banka je locirana na glavnoj saobraajnoj longitudinalnoj
osi Sarajeva i, okruena Kampusom Sarajevskog
univerziteta i kulturnim objektima kao to su Zemaljski
muzej BiH i Historijski muzej BiH, definira mjesto
kulturolokog i obrazovnog karaktera.
Zgrada e se koristiti kao sjedite velike regionalne banke.
Ova funkcija je razvila koncept za dizajn objekta sa sefom
kao glavnom idejom. Vizuelni oblik sefa predstavlja
kubusni volumen zgrade. Presjek kroz sredinu objekta
predstavlja mogunost da se sef otvori. Dakle, taj otvor
predstavlja otvoreni sef te omoguava prirodnoj svjetlosti
i ventilaciji da dopre do unutranjih prostora koji su
udaljeni od vanjskih gabarita zgrade. Kako bi se zgrada
osigurala, dizajnirana je mrea koja pokriva objekt u
cijelosti te stvara arhitektonski i zatitni okvir. S
arhitektonskog aspekta, objekt reflektuje modernu
tehnologiju koja se koristi u konstrukciji. Okvir fasade koji
se stvara sa ostakljenom fasadom, transparentnost i
vizuelni efekti e biti inkorporirani u okolinu te e u isto
vrijeme dominirati svojim ekstravagantnim izgledom. S
funkcionalnog gledita, objekt e pruati neometanu
vertikalnu i horizontalnu komunikaciju kako za
zaposlenike tako i za korisnike. Sve jedinice imaju
prirodnu svjetlost i ventilaciju iako nisu sve okrenute
prema glavnim fasadama zgrade. To je uinjeno kako bi se
kreirao neometan i efikasno iskoriten prostor koji prua
ugodnu radnu klimu, neophodnu za produktivan rad i
boravak unutar objekta.
The site of the proposed NLB Bank is on the main road
running the length of Sarajevo. Surrounded by the University
of Sarajevo campus and cultural amenities such as the
National Museum of Bosnia and Herzegovina and the History
Museum of Bosnia and Herzegovina, it defines a place that is
cultural and educational in nature.
The building is to be the headquarters of a major regional
bank, which gave rise to the design concept of the building
as a safe deposit box, with the cuboid shape of the building
representing the safe and the slice through the centre
representing an open safe, allowing natural light and
ventilation deep into the interior. The mesh that clads the
entire building both provides security and creates its
architectural framework.From the architectural perspective,
the building reflects the modern technology used in its
construction. The transparency and visual impact of the
frame being created with the glazed faade will be
incorporated into the setting while also dominating it with
its extravagant appearance. From the functional perspective,
the building is designed to allow freedom of movement in all
directions by both staff and customers. All the premises
enjoy natural light and ventilation, even those not facing the
main faades, so as to ensure the undisturbed and efficient
use of space that creates a pleasant environment conducive
to productive work.

NLB Bank

Arhitekti/Architects: normal arhitektura Emir Salki, Muhamed Serdarevi Saradnici/Collaborators: Armin Mei, Benjamin Popranovi,
Emina Hadiosmanovi Lokacija/Location: Sarajevo Godina/Year: 2009. Tip/Type: ugovor/commission Investicija/Investment:
privatna/private Klijent/Client: NLB banka, Ljubljana/NLB Bank Ljubljana BGP objekta/GBA: 27.420 m2

268 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 269

DRUTVO SOCIETY
Javni prostor Public space
Ugao gradskog bloka, koji je definisan vrstim
regulacionim parametrima, kod projekta poslovnog
objekta u Banjoj Luci interpretiran je s idejom da se
tradicionalni ugaoni akcenat zamijeni preplitanjem
dinaminih prostornih planova, i da na taj nain mjesto
generie novi kvalitet.
Svojim oblikom objekat komunicira s dinaminom
saobraajnom raskrsnicom na ijem se uglu nalazi. Dva
pravca koji se simbolino ukrtaju predstavljeni su
susretanjem volumena objekta na uglu i njihovim
preplitanjem. Dinamina scena ugla prikazana je i
primjenom dvaju dominantnih materijala. Kao protivtea
ulinoj fasadi, s dvorine strane objekat se iroko otvara
prema mirnom, parkovskom dijelu bloka, i preko
dijagonalno postavljene transparentne opne ostvaruje
kontakt sa zelenilom.
This corner block, which is defined by strict planning
regulations, has been designed with the idea of replacing the
traditional emphasis on the corner with a meld of dynamic
spatial plans to generate new features.
In shape, the building echoes the busy crossroads on which
it stands. The two intersecting roads are symbolically
represented by the meeting and intermingling of the volumes
of the building. The dynamic corner scene is also
represented by the use of two principal materials. As a
counterweight to the street front, the courtyard face of the
building is wide open to the peaceful park area of the block,
while the transparent diagonal membrane opens it up to the
greenery.

Poslovni objekat
Ofce building

Arhitekti/Architects: Milan Vujovi Lokacija/Location: Banja Luka Godina/Year: 2005. Tip/Type: ugovor/commission
BGP objekta/GBA: 13.620 m2

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DRUTVO SOCIETY
Javni prostor Public space
Inovacioni centar
Innovation Centre
272
Lokacija za izgradnju poslovnog objekta Inovacionog
centra Banja Luka nalazi se u okviru univerzitetskog
centra u centralnoj zoni grada.
Objekat je namenjen ambicioznim i talentovanim mladim
ljudima s ciljem da im omogui bolje poslovno okruenje
i pomogne na poetku budue uspene karijere.
Posmatran je kao dogaaj koji u realnom vremenu postoji
izmeu specifine kulturne prakse i specifinog kulturnog
konteksta. Dualitet dogaaja izraen je u potrebi da se
naglasi da se nalazi izmeu dvaju oblika realnosti, izmeu
onoga to je bilo i onoga to e doi. Specifian oblik
arhitekture i njene prakse bie vien kao proizvodnja
koncepta iji e uticaj i znaaj izai iz domena arhitekture
i prei u sociokulturoloko polje. Ova nova aktivnost
teorije ne zahteva nove ideje za objekte ve otkrie novih
tehnika za promiljanje i analizu oblika reprezentacije. U
procesu nestanka klasinog objekta dvadesetog veka,
njegovi elementi osnova, fasada, krov, kretanje,
funkcija/namena, integriu se i postaju delovi vee celine.
Oni postaju segmenti koji objekat transformiu u
jedinstven i autonoman dogaaj, koji je veoma labilan, ali
i adaptabilan otvoren sistem ija sutina je proizvodnja
noviteta. On transformie neaktuelni potencijal u novo
stanje, odnosno proizvodi itavu novu seriju potencijala
koji e biti aktuelizovani ili ne. Primarni cilj ovog projekta
je da se istrai prostorna reakcija odnosno promena
znaenja prostora u zavisnosti od karaktera drutvenih
procesa u periodu tranzicije.
Arhitekti/Architects: Mihailo Lujak Saradnici/Collaborators: Stojan Vujatovi Lokacija/Location: Banja Luka Godina/Year: 2009/2010.
Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: Rektorat Univerziteta u Banjoj Luci/Rectorate of the
University of Banja Luka BGP objekta/GBA: 4.000 m2
R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE
The site for the Innovation Centre of Banja Luka is in the
university centre in the city centre.
The ICBL is intended to provide ambitious and talented
young people with a better business environment and help
at the beginning of their professional career. The building is
envisaged as existing in real time between specific cultural
practice and a specific cultural context. This creates a
duality, in which it is poised between a reality that once was
and a reality to be.
The specific architectural form and practice will be seen as
the product of a concept whose influence and significance
will go beyond the domain of architecture into the socio-
cultural domain. This new aspect of theory does not require
new ideas for the building but rather the identification of
new techniques for the study of forms of representation. As
the classic twentieth-century building fades away, its various
elements plan, elevation, roof, movement, use and function
are integrated into one another to become the parts of a
greater whole, segments that transform the building into a
single, autonomous event, which is a very unstable but also
adaptable, open system, the essence of which is to generate
innovation. It transforms unrealized potential into a new
state, generating a whole new series of potentials that may
or may not be realized. The primary aim of the project is to
explore spatial reactions and the shifting meanings of space
as they relate to social processes in this transition period.
IN BIH 1995-2010 273
DRUTVO SOCIETY
Javni prostor Public space
Poslovno-sportski kompleks Rudar, Prijedor, projektovan
je za odravanje nacionalnih i meunarodnih fudbalskih
utakmica, ali i drugih sportskih dogaaja na otvorenom
kulturnih deavanja, velikih koncerata, umjetnikih
dogaaja te drugih mnogobrojnih manifestacija.
The Rudar (Miner) business and sports centre in Prijedor
was designed as a venue for national and international
football matches, as well as other open-air sporting events,
cultural events, major concerts and art happenings, and other
types of event.

Pored navedenih sadraja u sklopu kompleksa su, radi
ekonomske optimizacije i mogunosti realne izvodljivosti
planirane investicije, predvieni i znaajni poslovni
sadraji koji objekat ine centrom budueg sportskog,
kulturnog i poslovnog ivota grada. Kompleks je, uprkos
svojoj heterogenoj namjeni i prostornoj organizaciji,
oblikovan kao jedinstvena cjelina sa svim odlikama
savremenog arhitektonskog izraza inkorporiranog u
urbano tkivo Prijedora. Lokacija planiranog kompleksa se
nalazi na obodu ueg gradskog jezgra, na mjestu
postojeeg gradskog stadiona, sa ve jasno definisanom,
zateenom urbanom i saobraajnom matricom. Osnovni
geometrijski oblik vanjskog i unutranjeg plata objekta,
koji definie primarnu plastiku, nastao je kao proizvod
zajednikog sadrioca maksimalnih vanjskih gabarita
uslovljenih oblikom lokacije i minimalnih unutranjih
mjera datih neophodnim prostorom za sportska, fudbalska
i atletska, borilita. Pristupni gledalini plato na koti +
6,46, koji dijeli objekat u horizontalnoj ravni, smanjujui
mu time vizuelno visinu, otvoren je pristupnim
stepenicama i rampama prema parku i centru grada,
uvlaei tako parter i korisnika na gornje nivoe poslovno-
komercijalnih sadraja. Oblik date strukture je u znaajnoj
mjeri odredila i potrebna visina objekta te njen odnos sa
okolnim artefaktima.
So as to maximise the economic benefits of the building and
enhance the viability of the proposed investment, these will
not be its only uses: it is also designed to provide
commercial premises, which should make it the centre of the
towns future sports, cultural and business life. The
proposed site is on the edge of the inner urban centre, where
the town stadium currently stands, and where the existing
urban fabric and traffic layout is already clearly defined. The
basic geometric shape of the exterior and interior capsules of
the structure, which define its primary form, is the result of
the common denominator of the maximum exterior
dimensions dictated by the site and the minimum interior
dimensions required for the sports, football and track and
field facilities. The stands, at a height of 6.46 m, which
divide the structure horizontally and reduce its apparent
height, open onto the steps and ramps leading to the park
and town centre, thereby drawing the floor of the house and
spectators to the upper level, where the business and
commercial facilities are located. The form of the structure
was to a large extent dictated by the necessary height of the
building and its relation to the surrounding buildings. The
relatively shallow secondary capsule, in the form of sun
screens and reinforced concrete slabs consistent with the
curvilinear exterior capsule, is the result of the different
heights of the two levels at various points and the need to
shield the glazed areas from the sun and consequent
overheating.

Poslovno-sportski
kompleks Rudar
The Rudar
business and
sports centre

Arhitekti/Architects: Saa B. voro, Malina voro /4+arhitekti/ - 4+Architects Lokacija/Location: Prijedor Godina/Year: 2008/2009.
Tip/Type: ugovor/commission Investicija/Investment: javna/public Klijent/Client: Optina Prijedor/Prijedor Municipality BGP
objekta/GBA: 14.000 m2 3D model: Milo Paripovi

274 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 275

DRUTVO SOCIETY
Javni prostor Public space
Neposredno okruenje je u velikoj mjeri utjecalo na
karakter poslovnog kompleksa S2, a sama lokacija
odgovara savremenim potrebama. Blizina
administrativnih sadraja, frekventne saobraajnice,
poslovnih gradskih hotela, novootvorenih i planiranih
trgovako-poslovnih centara osnovni su faktori koji su
determinirali dispoziciju, materijalizaciju i formu objekta.
The immediate environs had a considerable impact on the
nature of the S2 business complex, while the location itself is
appropriate to contemporary needs. The proximity of
administrative facilities, busy roads, commercial hotels and
newly-opened or projected shopping and business centres
were the main factors determining the layout, materials and
form of the complex.

Blago izlomljena strukturalna staklena fasada reflektira
okolinu i ta refleksija, uz alteraciju monohromatskih
tonova staklenih polja fasade, postaje dijelom njene
vlastite dinamike.
Karakter objekta najbolje se ita u enterijeru stameno
betonsko jezgro sa komunikacijama i servisima okruuje
slobodni prostor prilagodljiv svakoj namjeni. U objektu su
i tri etae podzemne garae sa 340 parking mjesta te 75
parking mjesta na platou uz objekat.
The uneven structural glass faade reflects its surroundings,
and the reflection itself, together with the alternating
monochrome glass panels, becomes part of its own
dynamics. The nature of the building can most easily be
read in the interior, with its robust concrete core and its
communications and services surrounding an empty space
that can be adapted to any purpose. The building also has a
three-storey underground garage with 340 parking spaces
and another 75 parking spaces on the forecourt beside the
building.

Poslovni
kompleks S2
The S2 Business
Complex

Arhitekti/Architects: d.d. DOM SPI Lejla Hasibovi, Kemal Hasibovi Saradnici/Collaborators: Nedim Arnautovi, Aida Delahmetovi, Amel
Hota, Biljana Karahasanovi Lokacija/Location: Sarajevo Godina/Year: 2009-2012. Tip/Type: ugovor/commission
Investicija/Investment: privatna/private Klijent/Client: Butmir d.o.o. Povrina lokacije/Site area: 7.068 m2
Fotograf/Photographer: Aida Delahmetovi

276 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 277

DRUTVO SOCIETY
Javni prostor Public space
Denivelacija terena izmeu gradskog autoputa i
eljeznike pruge omoguila je formiranje nove
topografije urbanog platoa s kolanim gradom
formiranim od razliitih stambenih tipologija koje su
preuzete iz tradicije kolektivnog stanovanja u Sarajevu.
Novouspostavljeni plato, nova topografija za stambene
objekte, formira okruenje bez kolskog saobraaja, s
parkovima, sportskim terenima i djeijim igralitima za
stanovnike ovog naselja. Izborom i reinterpretacijom
najuspjenijih tipova stanovanja formirana je urbana
tipologija koja nudi itav spektar razliitih objekata: od
nebodera, preko standardnih blokova i blokova u obliku
slova L, do tapiastih objekata i urbanih vila. Na ovaj
nain stvorena je neophodna razliitost dijela grada u
nastajanju, to se u potpunosti realizira i kroz oblikovni
koncept dizajniranja pojedinih objekata. Ovakvim
konceptom grad-kola nudi irok dijapazon stambenih
tipova, to odgovara specifinim zahtjevima trita i
mogunostima izbora. Denivelacija terena izmeu
gradskog autoputa i eljeznike pruge iskoritena je da se
osnovne funkcije pozicioniraju po vertikali. Dvije parking
etae su locirane u suterenima -3 i -4, komercijalni dio je
smjeten na etaama -1 i -2, dok je na tako uspostavljenoj
platformi formirano stambeno naselje.
The different levels of the site between the urban highway
and the railway facilitated the formation of a new
topography an urban plateau with a collage city composed
of the different housing typologies typical of the tradition of
multi-family housing in Sarajevo. The newly-formed plateau,
a new topography for blocks of flats, creates a traffic-free
environment with parks, sports fields and childrens
playgrounds for the residents of the housing development.S
The selection and reinterpretation of the most successful
types of housing created an urban typology with a wide
variety of buildings, ranging from skyscrapers through
standard and L-shaped blocks to linear block and urban
villas. This has created the diversity required for a new urban
quarter, underlined by the formal concept of the design of the
various buildings. The concept of the collage city provides a
wide range of types of housing, in response to specific
market demands and the need for choice. The dip between
the highway and the railway was exploited by superimposing
the developments primary functions. Two parking storeys
are located at basement levels -3 and -4, commercial
facilities are on levels -1 and -2, and the housing
development is located on the platform thus created.

Divercity
Naselje Milkos
Divercity Milkos
Housing
Development

Arhitekti/Architects: Studio non stop Sanja Gali-Grozdani, Igor Grozdani Saradnici/Collaborators: Edin Avdibegovi, Hasnija Kazi,
Ilhana Poplata, Jasmina Topagi Lokacija/Location: Sarajevo Godina/Year: 2009. Tip/Type: ugovor/commission
Investicija/Investment: privatna/private Klijent/Client: Teloptic d.o.o. Sarajevo BGP objekta/GBA: 75.000 m2 Fotograf/Photographer:
Studio non stop

278 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 279

DRUTVO SOCIETY
Javni prostor Public space
Bosmal City centar je projektiran kao objekt koji bi trebao
predstavljati novi vizualni simbol Sarajeva. Ovaj objekt
predstavlja prvi kondominij izgraen u Sarajevu. Objekt
sadri 307 luksuznih stanova povrine od 77 do 230
metara kvadratnih, organiziranih u dva tornja, kao
aparthotel s odvojenim pristupima preko recepcije za
svaki toranj pojedinano. Pored stambenog dijela, u
objektu je smjeten shopping s centralnom promenadom,
dugom gotovo 100 metara, oko koje su razvijene funkcije
gastronomije i trgovine, te bazen sa fitnessom, saunama,
masaom i ostalim prateim sadrajima. Arhitektonski
koncept determiniraju dva tornja L-forme, od kojih je
jedan elegantniji u proporciji, s naglaenim vertikalnim
elementima, dok je drugi, po povrini gotovo duplo vei
od prvoga, masivniji, s naglaenim horizontalnim
elementima terasa i loa bojenih u narandastu i zelenu
boju. U objektu je organizirana podzemna garaa
kapaciteta 450 parking mjesta.
Bosmal City Centre was designed to become a new landmark
of Sarajevo. The first condominium to be built in Sarajevo, it
consists of 307 luxury flats ranging in size from 77 to 230
m2. It consists of two towers as an apart-hotel with a
separate entrance and reception for each tower. The
building also contains a central shopping parade almost 100
metres long, surrounded by restaurants and shops, and a
pool, fitness centre, saunas, massage parlour and other
amenities. The architectural concept was defined by the L-
shaped twin towers, one of which is more elegant, its
verticality accentuated, while the other, which is almost
double the area of the first, is more chunky, with its
horizontal features terraces and balconies picked out in
orange and green. The building also has an underground
garage with 450 parking spaces.

Bosmal City
centar

Arhitekti/Architects: GRUPA.ARH Sead Golo Saradnici/Collaborators: Sabrija Bilali, Edin Golo Lokacija/Location: Sarajevo
Godina/Year: 2001-2010. Tip/Type: ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Bosmal d.o.o. Sarajevo
BGP objekta/GBA: 89.000 m Fotograf/Photographer: Sandro Lendler

280 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 281

DRUTVO SOCIETY
Javni prostor Public space
Importanne centar formiran je od osam tornjeva
meusobno povezanih vertikalnim batama i tzv.
fasadnim ugrizima, koji simboliki predstavljaju mjesta
mogueg povezivanja pojedinanih tornjeva formirajui
strukturu urbanih puzzli.
U programskom smislu objekt je definiran kao
multifunkcionalni poslovni centar koji obuhvata
kancelarijske prostore, hotel, stanovanje, shopping centar i
podzemnu garau. Uvaavajui kako urbani tako i
programski kontekst, objekt je formiran od osam
tapiastih elemenata tornjeva, koji su komprimirani u
jednu cjelinu formirajui multiblok. Svaki toranj ipak
predstavlja poseban funkcionalni i oblikovni entitet koji je
s drugim tornjem spojen komprimiranim zelenilom, to
formira vertikalne fasadne bate. Svaki od tornjeva ima
svoju posebnu estetiku izraenu kroz ritam fasadnih
otvora, boju fasadnih ploa, kao i poziciju tzv. fasadnih
ugriza. Na ovaj nain postignuta je veoma zanimljiva
dinamina meupovezanost, interakcija i komunikacija
izmeu podijeljenih a ipak spojenih tornjeva urbanog
multibloka, omoguujui itav niz funkcionalnih
meupovezivanja u skladu sa zahtjevima trita i
korisnika objekta.
The Importanne Centre consists of eight towers
interconnected by vertical gardens and faade blanks as a
symbolic representation of the points at which the towers
could interlock to form urban jigsaw puzzles.
The buildings constitute a multifunctional business centre
with offices, a hotel, flats, a shopping centre and an
underground garage. In the light of the urban and
programmatic context, the centre consists of eight towers
compressed into a single entity to form a multiblock. Each
tower remains a separate functional and formal entity linked
to the others by greenery forming vertical garden faades.
Each of the towers has its own special aesthetic expression
in the rhythm of the openings, the colour of the faade
panels, and the position of the faade blanks. This creates
an extremely interesting dynamics of interconnection,
interaction and communication between the separate yet
interlinked towers of the urban multiblock, providing a range
of functional links in response to market demands and
tenants needs.

Balkanske puzzle
Importanne
centar
Balkan Puzzles
Importanne
Centre

Arhitekti/Architects: Studio non stop Sanja Gali-Grozdani, Igor Grozdani Saradnici/Collaborators: Edin Avdibegovi, Hasnija Kazi,
Ilhana Poplata, Jasmina Topagi Lokacija/Location: Sarajevo Godina/Year: 2005-2010. (prva faza/phase I) Tip/Type:
ugovor/commission Investicija/Investment: privatna/private Klijent/Client: Teloptic d.o.o. Sarajevo BGP objekta/GBA: 44.800 m2
Fotograf/Photographer: Sandro Lendler

282 R E S TA RT A R H I T E KT U RA U BIH ARCHITECTURE IN BIH 1995-2010 283

 Hans Ibelings (1963), selektor radova i urednik
knjige, historiar je i kritiar arhitekture iz
Amsterdama. Glavni je urednik A10 New
Europan architecture, dvomjesenog asopisa
osnovanog 2004. godine, zajedno s grafikim
dizajnerom Arjanom Grootom.

Hans Ibelings (1963), who selected the projects

and edited the book, is an Amsterdam-based
architectural historian and critic. He is the editor
of A10 new European architecture, a bi-monthly
magazine which he founded in 2004, together
with graphic designer Arjan Groot.

Ivan traus (1928) is a prolific architect and writer

in Sarajevo. His built work contains the Unis
Towers in Sarajevo, the Museum of Aviation in
Belgrade and the Telecommunications Building in
Addis Ababa. He is the author of some of the most
important publications on modern architecture in
Yugoslavia, and Bosnia and Herzegovina.

Ivan traus (1928) plodan je arhitekt i pisac iz

Sarajeva. Njegovi su izgraeni objekti Unis
tornjevi u Sarajevu, Muzej avijacije u Beogradu
te Telekomunikacijska zgrada u Adis Abebi.
Autor je nekih od najznaajnijih publikacija o
modernoj arhitekturi u Jugoslaviji i Bosni i
Hercegovini.

Mladen Jadri (1964) arhitekt je sa sjeditem u

Beu, gdje ima svoj vlastiti ured s
meunarodnom praksom. Predaje na University
of Technology u Beu. Njegova realizirana
ostvarenja u rasponu su od instalacija i
izlobenih paviljona te stambenih enterijera do
stambenih i uredskih objekata i proirenja
hotela.

Mladen Jadri (1964) is an architect based in

Vienna, where he has his own office with an
international practice. He teaches at the University
of Technology Vienna. His realised work ranges
from installations and exhibition pavilions and
interiors to housing, offices and a hotel extension.

Inside cover back