Arena Zagreb

The Zagreb Arena

Ingra d.d., Zagreb, 2008.

M A ROJ E M R D U L JA

M A ROJ E M R D U L JA

Arena Zagreb,
od stvaranja
prema budunosti

The Zagreb Arena,

from Creation
to Future

Svaka zgrada ima tri ivotna ciklusa koja su povezana u jedan vremenski kontinuiran tijek, ali su takoer i meusobno jasno odijeljena
i imaju sasvim razliite karaktere. Prvi ivotni ciklus graevine odnosi
se na inicijativu njenog zasnivanja. On se u potpunosti odvija u sferi
ideje i apstrakcije, u razmiljanjima kreatora projekta: investitora i
projektanata. Jednom, kada je projekt u cijelosti zavren, predaje se u
ruke graditelja ime zapoinje njezin drugi ivotni ciklus u kojem koncept poprima fiziki oblik, a ideja se transformira u gradbeno tijelo.
I u ciklusu projektiranja i u ciklusu gradnje poinje se od tabule
rase praznoga bijelog papira i tla parcele na kojoj zgrada treba
niknuti. I investitori, i projektanti i izvoai dobro poznaju taj osjeaj
uzbuenja jer se u svakom projektu uputaju u nepoznato, ma koliko
im postupci i procesi nastanka zgrade bili ve od ranije poznati.
Tako je svaki projekt pria za sebe jer svaka graevina ima svoj vlastiti, jedinstveni ivot, svoju posebnost i naposljetku identitet.
Jednom kada je zgrada zavrena, ona ulazi u svoj trei ivotni
ciklus u kojem dobiva svoj puni smisao. Time zavravaju dva formativna perioda zgrade i zapoinje dugotrajni period zrelosti, sudjelovanja u ivotu grada i drutvene zajednice. No, njena pred-povijest
esto ostaje skrivena, a njena egzistencija samorazumljiva, kao da je
postojanje neke zgrade injenica dana sama po sebi. Ponekad ostaje
zapameno ime arhitekta, ponekad naruitelja, no za korisnike proces
njenog nastanka uglavnom ima malo ili nikakvo znaenje, a brojni
napori ukljueni u njenu izvedbu ostaju zaboravljeni.
Arena Zagreb poduhvat je velikih razmjera i velikog mjerila, javna
graevina kakva u Zagrebu i Hrvatskoj nije sagraena desetljeima.
Njen formativni period, koji jo traje dok se piu ovi redci, u odreenoj se mjeri odvija pred oima javnosti i medija, no malo tko, osim
neposrednih sudionika ukljuenih u njenu gradnju, ima jasan i cjelovit uvid u uzbudljivost, sloenost, ozbiljnost i dramatinost njenog
uobliavanja i materijalizacije, kao to se premalo zna o entuzijazmu
i posveenosti zadatku svih onih koji skrbe za njenu budunost prije
nego to se preda na koritenje graanima Zagreba i Hrvatske.
Monografija o Areni Zagreb jest svojevrsni memento, pripovijest
o suivotu zgrade u nastanku i svih onih koji su za taj nastanak
zasluni. Ona je takoer i pokuaj da se dokumentira i javnosti priblii
rad i suradnja mnogih struka ukljuenih u proces graenja, i to putem
govora u prvom licu jednine te svjedoanstva samih protagonista iz
projektnih ureda, s gradilita i iz radionica, dakle ljudi ija lica i imena
inae uglavnom nisu eksponirana. Na neki nain, ova monografija nije
samo pria o Areni Zagreb, nego i o graenju, arhitekturi i srodnim
disciplinama openito, ispriana iz unutarnje perspektive.
Arena Zagreb i njeni stvaratelji zasluuju takav memento iz mnogih
razloga. Gotovo da i nije potrebno isticati vanost takve graevine
za grad Zagreb, Hrvatsku, pa i regiju s obzirom na njen veliki kapacitet, vienamjensku funkciju i tehniku opremljenost. Mnoga dogaanja koja su do sada zaobilazila Zagreb, poput koncerata vrhunskih
4

glazbenika ili velikih sportskih dogaanja napokon su dobila

prikladni prostorni okvir. Za njen je nastanak posebno vana koncepcija javno-privatnog partnerstva, modela koji je u svijetu jedan od
glavnih pokretaa razvoja gradova i izvedbe kapitalnih projekta, no
u Hrvatskoj je novina koja tek daje prve rezultate. Svakako, suradnja
Republike Hrvatske, Grada Zagreba i Ingre na projektu Arene Zagreb
pokazala je da je javno-privatno partnerstvo naroito uspjean model
financiranja kljunih urbanih intervencija. Nadalje, graditeljsko rjeenje Arene Zagreb je jedinstveni hrvatski proizvod, rezultat ovdanjeg
znanja i kreativnosti te operativnosti i profesionalnosti graevinske
industrije. Takoer, sinergijski odnos svih sudionika u osmiljavanju
i gradnji Arene omoguio je da se u izuzetno kratkom roku osmisli
i izvede graevina na temelju dostizanja maksimalnog rezultata iz
postojeih resursa, da se kombinatorikim razmiljanjem o dostupnim
graditeljskim sredstvima i rjeenjima postigne gotovo nemogue.
U tom smislu, Arena Zagreb je proizvod koji je po uspjenom i
realistinom povezivanju kreativnosti i operative uzoran na opem
planu hrvatskog drutva te moe biti konceptualan model i za druga
podruja industrije i drugih djelatnosti.
Svakako, u knjizi je teko sasvim vjerodostojno predoiti kompleksnost i opseg projekta, dinaminost gradilita i sva zbivanja koja obiljeavaju nastanak ove graevine. Izostaje osjeaj fascinacije mjerilom zahvata na samom gradilitu, nije mogue reproducirati vibracije i
zagluujuu buku strojeva, vrevu stotina radnika, prenijeti vrtoglavicu
koju izaziva visina na kojoj se odvijaju pojedini radovi. No, mogue
je ta iskustva posredovati u knjiku formu briljivim pristupom temi:
mjesecima snimati tisue fotografija, voditi razgovore s brojnim
zanimljivim sugovornicima razliitih struka, stvoriti dramaturgiju unutar samog medija knjige i sklopiti mozaik kojim se nastoji opisati to
to znai projektirati i graditi. Zahvaljujui takvom mozaiku, formativni
period ivota Arene Zagreb ostaje trajno zabiljeen i opisan, a protagonisti njenog nastanka govore o vlastitim iskustvima i doivljajima iz
perspektive konanog cilja preputanja Arene Zagreb njenom zrelom,
samostalnom ivotu.
Kao i sama graevina, i ova monografija je zajedniki rad jer je
nastala u kontaktu ljudi koji su neposredno sudjelovali u izradi knjige i
samih graditelja. U tom smislu, autorstvo knjige je kolektivno, a prikazani fotografski motivi i tekstovi tek su vrh ledenog brijega cjelokup
noga dokumentiranog materijala.
elja je svih koji su sudjelovali u ovom projektu da Arena Zagreb
zaivi kao jedan od kljunih javnih gradskih projekta, a nadamo se da
je knjiga barem donekle uspjela zabiljeiti brojne napore koji su poduzeti da se ta elja i ostvari.

excellence of its technical equipment. Many of the events that have to date
Every building has three life cycles, linked into a single continuous temporal
passed Zagreb by, like concerts by top musicians or great sporting events
flow, but also clearly demarcated from each other, with their own entirely
different characteristics. The first life cycle of a building refers to the initiative have at last obtained a suitable venue. Of particular importance for its origin
is the concept of the public-private partnership, a model that in the world
behind its foundation. It unfolds entirely in the sphere of idea and abstracat large is one of the main generators of city development and the perfor
tion, in the considerations of the creators of the project, the client and the
mance of capital projects but that in Croatia is a novelty only just bearing
architects. Once the plan is fully completed, it is given over to the hands of
fruit. Certainly, the collaboration between the Republic of Croatia, the City
the builder, the start of the second life cycle, in which the concept takes
of Zagreb and Ingra on the Zagreb Arena project has shown that the publicon physical form, the idea is transformed into a building body. Both the
-private partnership can be a very successful model for the funding of key
design cycle and the construction cycle start off from a tabula rasa of bare
urban interventions. The architectural approach of the Zagreb Arena is a
white paper or the bare soil of the plot on which the building is to spring up.
unique Croatian product, the result of the knowledge and creativity of the
Clients, architects and contractors are very familiar with that thrill when in
place, the operational capacity and professionalism of the civil engineering
every project they embark into the unknown, however much the procedures
industry. The synergetic relationship of all the participants in devising and
and processes in the creation of a building are known to them beforehand.
building the Arena has enabled the extremely rapid design and construction
And so every project is a story all by itself, for every building has its own
of a building aimed at achieving maximum results from existing resources
unique life, its peculiarity, and ultimately its identity.
and, with a canny permutation of the existing building resources and
When the building is completed, it enters into its third life cycle, in which
approaches, pulling off the practically impossible. In this sense, the Zagreb
it acquires its full meaning. Thus the two formative periods are over, and
Arena is a product that in terms of a successful and realistic combination
the long-lasting period of maturity begins, of participation in the life of the
of creativity and operational capacity is exemplary at the general level of
town and the community. But its prehistory will often remain concealed, its
Croatian society and can be a conceptual model for other areas of industry
existence seemingly self-evident, as if the existence of some building were
and other activities.
a given fact in and of itself. Sometimes the name of the architect will be
It is certainly difficult in a book to give a veracious account of the comremembered, sometimes that of the client, but for the users, the process
plexity and scope of the project, the on-site dynamism and all the events that
that brought it into being has little or no meaning, and the numerous efforts
have marked the origin of this structure. What is missing is a sense of the fasinvolved in its production are forgotten.
cination with the scale of the operations at the very site, it is not possible to
The Zagreb Arena is an enterprise of major dimensions and on a grand
reproduce the vibrations and the deafening noise of the machinery, the bustle
scale, a public building the like of which has not been built in Zagreb or
of hundreds of workers, to convey the vertigo induced by the height at which
Croatia for decades. The formative period, which is still going on while these
some of the works are performed. But it is possible to mediate this experience
pages are being written, is to an extent unfolding before the eyes of the pubin book form with a heedful approach to the topic: taking photographs from
lic and the media, but few, except the immediate participants involved in the
the same angles for months, holding conversations with numerous interestconstruction, have a clear and complete insight into the excitement, t he coming dialogue partners of different trades and professions, creating a dramaplexity, gravity and drama of its shaping and materialisation, just as too little is
turgy within the book medium and putting together a mosaic to attempt to
known of the enthusiasm and dedication of those who pay heed to its future
describe what it has meant to design and build. Thanks to this kind of mosaic,
before it is handed over for the use of the citizens of Croatia and Zagreb.
the formative periods of the life of the Zagreb Arena will be permanently
A monograph about the Zagreb Arena is a kind of memento, a tale of
recorded and described, and the leading figures behind its creation talk of
the life shared by the building coming into being and all those who are to
their own experiences and perceptions within the perspective of the ultimate
be credited with this act of creation. It is also an attempt to document and
objective, dispatching the Zagreb Arena to a mature and independent life.
to familiarise the public with the work and collaboration of the many trades
Like the building itself, this monograph is also a team effort because it
and disciplines involved in the building process, through first person singucame into being as a result of the contacts between the people who directly
lar speech, the testimony of the actual protagonists, from the architectural
participated in the preparation of the book and the builders themselves. In
practices, the building site, the workshops; people, that is, whose faces and
this sense, the authorship of the book is collective, and the photographic
names are not usually in the public eye. In some way, this monograph is not
motifs and texts that are displayed are just the tip of the iceberg that is the
just a tale about the Zagreb Arena, but also about building as such, about
complete documentary material.
architecture and its kindred disciplines, told from the inner perspective.
It is the wish of all who took part in this project that the Zagreb Arena
The Zagreb Arena and the creative team behind it deserve this kind of
develops into one of the citys key public projects, and we hope that this
memento for many reasons. It is hardly necessary to insist on the imporbook succeeds at least to a degree in recording the numerous efforts which
tance of such a building for the city of Zagreb, for Croatia, and the region
were made to bring that wish about.
in general, considering its capacity, the many uses it can be put to and the
5

Stvaranje
novih vrijednosti

Constructing
New Values

Osvrt predsjednika Vlade Republike

A Remark from the Prime Minister of the Republic of Croatia

Od dubrovakih zidina do osjeke Tvre, od ibenske katedrale do

znamenitog krova crkve svetoga Marka, arhitektura je uvijek svjedo
ila o vremenu, prostoru i narodu koji je na tom prostoru stvarao
svoju povijest. Tako i u suvremenoj i suverenoj Hrvatskoj, nova zagrebaka Arena svjedoi o hrvatskoj zbilji u XXI. stoljeu.
Gledajui prema Zapadu, Arena je ujedno i simbol otvorenosti
nae zemlje prema cijelom svijetu. I doista e oi cijeloga svijeta biti
uperene u nju, u Zagreb i Hrvatsku, kada se na njezinim tribinama,
tijekom Svjetskog rukometnog prvenstva, susretnu navijai sa svih
kontinenata.
Neka te tribine ostanu zauvijek mjesto susreta i prijateljstva, te
snanog i zdravog bodrenja. Neka Arena Zagreb bude trajni simbol
takvog uspjeha!
Arena Zagreb ve sad nas na to upuuje. Pogled na Arenu sa
zagrebakog Jaruna, koji je postao novi vizualni znak sportskog
ivota naega glavnog grada, kao da nas podsjea na postignua iz
prolosti, iz koje izvire snaga i motivacija za budue uspjehe.
O tom uspjehu svjedoi zagrebaka Arena, i to ne samo o
onom sportskom. Arena svjedoi o znanju i poduzetnosti naih ljudi.
Svjedoi o naprednoj zemlji s modernom infrastrukturom. S obzirom
na to da je izgraena u isto vrijeme kad i dvorane u Splitu, Osijeku,
Zadru, Varadinu i Poreu, ona takoer svjedoi o ravnomjernom
razvoju svih hrvatskih krajeva.
Arena svjedoi i o naoj sposobnosti za stvaranje novih vrijednosti. Svojom arhitektonskom ljepotom Arena je promijenila izgled
jednom od glavnih ulaza u grad i time pokazala put razvoja kroz inovaciju i izvrsnost.
Na tim je pretpostavkama Vlada Republike Hrvatske podrala
izgradnju Arene Zagreb i ostalih suvremenih sportskih dvorana
diljem zemlje, s ciljem daljnjeg razvoja ne samo hrvatskog sporta,
nego i gospodarstva i cjelokupnog drutva. Na tim pretpostavkama
Vlada e i dalje pridonositi stvaranju potrebnih uvjeta za razvoj svih
potencijala Hrvatske i njenih graana.

From the city walls of Dubrovnik to the fortress in Osijek, from the cathedral
in ibenik to the famous tiled roof of St Marks, architecture has always been
a witness to the time, space and the people who created their history in the
area. Similarly, the new Zagreb Arena is a witness to Croatian reality in the
21st century, in contemporary and sovereign Croatia.
Facing the West, the Arena is also a symbol of our countrys openness
to the whole world. And indeed, the eyes of the whole world will be directed
to it, to Zagreb and Croatia, when its stands become a meeting point for
supporters from all continents during the World Handball Championship.
Let these stands forever remain a place for meetings and friendships,
and vigorous and healthy support. Let the Zagreb Arena be a lasting symbol
of such success!
The Zagreb Arena is already telling us this. A gaze upon the Arena
from Zagrebs Jarun lake, which became a new visual symbol of the sports
lifestyle of our capital, seems to remind us of our past achievements, from
which strength and motivation for future successes stem.
The Zagreb Arena is a witness to such successes, and this not merely
regarding sporting successes. The Arena is also a witness to the knowledge
and entrepreneurship of our people. It is a witness to an advanced country
with modern infrastructure. Since it was constructed at the same time as
sports halls in Split, Osijek, Zadar, Varadin and Pore, it is a witness to the
even development of all Croatian regions as well.
The Arena is also a witness to our capability of constructing new values.
With its architectural beauty, the Arena has managed to change the appearance of one of the principal entrances to the city, thereby showing the path
for development through innovation and excellence.
Based on these assumptions, the Government of the Republic of
Croatia gave support to the construction of the Zagreb Arena and other
modern sports halls throughout the country, with the aim of further developing not only Croatian sport, but also the economy and society generally.
The Government will continue to contribute, on this basis, to the creation of
the necessary conditions for developing the whole potential of Croatia and
its citizens.

Dr. Ivo Sanader, predsjednik Vlade Republike Hrvatske

Dr Ivo Sanader, Prime Minister of the Republic of Croatia

Iza Ingre stoji vie od pola stoljea uspjenog

poslovanja u preko trideset zemalja svijeta. Mnogi
od osam stotina dosad izvedenih projekata bili
su vei i sloeniji od Arene Zagreb, no niti jedan
nije bio toliko ogranien rokovima. Hidrocentrale,
bolnice, industrijski pogoni i slini objekti trae
vei angaman u smislu strunih znanja, primjene
tehnologija ili samog naina graenja, ali imaju
i dui vremenski rok za realizaciju. Na cilj nije
bio u 503 dana sagraditi obinu sportsku dvoranu
s kapacitetom od 15 000 mjesta. eljeli smo u
Zagrebu sagraditi jedinstvenu multifunkcionalnu
graevinu koja e s jedne strane doprinijeti kvaliteti
ivota graana kulturnim, sportskim i raznim
drugim dogaajima, a s druge strane postati
jedan od prepoznatljivih gradskih simbola svojom
jedinstvenom arhitekturom i dizajnom.
Ingra has successfully conducted business for more
than half a century in over thirty countries throughout
the world. Many of the projects executed so far were
larger and more complex than the Zagreb Arena, but
none was as limited by deadlines. Hydro power plants,
hospitals, industrial plants and similar facilities require
more engagement in terms of knowledge, application
of technology or construction itself, but also entail
longer deadlines for realisation. Our goal was not to
construct just a sports hall that seats 15,000 in 503
days. We wanted to make a unique multi-functional
building in Zagreb that would, on the one hand,
contribute to citizens quality of life through cultural,
sporting and other events, and, on the other, become
one of the citys recognisable symbols with its unique
architecture and design.
I G O R O P P E N H E I M , predsjednik Uprave / Chairman of the Board;
I N G RA D . D . , glavni izvoa / principal contractor

Iluzija je da razvoj Zagreba moe biti financiran iz

prorauna. Zadaa je Grada da proraunom gradi
javnu gradsku infrastrukturu i brojne graevine
javne namjene, ali i da financira i pomae kulturnu
i svaku drugu izvrsnost. Grad u konanici brine za
svakodnevno funkcioniranje grada. Privatni kapital
u Zagrebu uiva dobrodolicu, uz uvjet da potuje
zakone i gradske odluke, povijesne prostore i nae
kriterije izvrsnosti. Posredstvom Arene, Zagreb izlazi
na svjetsku scenu konkurencije za velika svjetska
sportska, kulturna, zabavna i gospodarska dogaanja, za organizaciju kongresa, priredbi, ukratko
dogaaja koji daju novi identitet naemu gradu.
Its an illusion that the development of Zagreb can be
funded from the city budget. Its the task of the city
authorities to use the budget to build up the citys
public infrastructure and the many public-use buildings, as well as to fund and assist cultural and all other
kinds of excellence. Ultimately the authorities have
to take care of the everyday functioning of the city.
Private capital is very welcome in Zagreb, on condition
that it respects the law and the citys decisions, the
historical areas, and our criteria of excellence. Because
of the Arena, Zagreb is entering the world scene of
competition for great sporting, cultural, entertainment
and business events, for the organisation of conferences and functions, in short for happenings that will
give our city a new identity.
M I L A N BA N D I , gradonaelnik Grada Zagreba / Mayor of Zagreb

Vanjski je izgled u svakom sluaju specifian.

Iznad ulaznog platoa dominiraju prednapregnuti
armirano-betonski nosai, kolokvijalno nazvani
lamele, i svjetlea fasada koja se moe regulirati
odabiranjem odreenoga kompjutorskog programa.
U dvorani se moe smjestiti vie od 15 000 posjetilaca; od toga oko 4 500 na pomine teleskopske
tribine, a preostali broj na fiksne tribine. Predvien
je prostor za invalidne osobe kao i VIP loe.
Za posjetioce je ureen restoran s kuhinjom i niz
ugostiteljskih sadraja. U sklopu graevine nalazi
se dvorana za zagrijavanje i trening sa svojim
sanitarnim prostorima i garderobama. Ispod cijele
zgrade nalazi se podzemna garaa s otprilike 900
mjesta, u koju se ulazi kroz dvije ulazno-izlazne
rampe, a s june strane smjeteno je parkiralite
za autobuse i reportana kola.
The outer appearance is certainly specific. Reinforced
concrete supports, colloquially termed ribs, as well as
the lighted facade which can be regulated by selec
ting certain computer programs dominate above the
entrance concourse. The hall can seat more than
15,000 spectators, of which 4,500 in moveable telesco
pic stands, while the remaining number is seated in
permanent stands. Space for the disabled has been
provided, as have VIP boxes. Visitors have a restaurant
with a kitchen and a whole range of catering facilities
at their disposal. Within the building, there is a hall for
warming up and training, equipped with its own toilet
facilities and lockers. Below the entire construction is
an underground garage with approximately 900 spaces,
with two entrance/exit ramps, while the southern section contains a parking lot for buses and TV crews.
DA R KO I VA N DA , direktor projekta / project director; I N G RA D . D .

Jasno je da graevine velikih raspona automatski

ukljuuju konstrukciju kao vaan element koncipiranja projekta. Doslovno, rije je o opni s jasnom
formom koja se ne temelji u simbolici, nego slijedi
konstruktivnu logiku. Konstrukcija se zatvara prema
unutra u obliku koljke, ime se smanjuje raspon
i djelomino natkriva prostor. Htjeli smo postii
snaan, ist element u prostoru.
Naturally buildings with great spans automatically
include the construction as a vital element in the
conception of the design. Literally, here we have an
envelope with a clear form that is not founded in
any symbolism, but rather follows structural logic.
The structure is closed inwards, in the form of a shell,
which reduces the span and to a degree covers the
area. We wanted to create a strong and clear element
in space.
B E R I S L AV M E D I

A L A N L EO P L E T I N A , N E N A D B O RG U DA N , TA M A RA STA N T I
B R I , B E R I S L AV M E D I , U P I 2 M D . O . O . , arhitektonski projekt

i projekt konstrukcije / architectural project and project of construction

SA N D RA K R I I RO B A N

Arena Zagreb
novo gradsko obiljeje

Slika koja se prua kad Zagrebu pristupamo s juga jedinstvena je;

to je vizura u kojoj su ouvani stoljetni tragovi urbaniteta, od prvih
definiranih izgradnji na obroncima Sljemena, preko crkvenog i svjetovnog breuljka Gradeca i Kaptola, sve do podgraa i njegove
ureene blokovske izgradnje iji umirujui, pravilan ritam skladno
zaokruuje povijesni gradski okvir. Premoivanjem Save zapoelo
je irenje grada, koji posljednjih godina doivljava nevjerojatnu
ekspanziju, pa gotovo svakodnevno svjedoimo rezultatima nove
urbane strategije Zagreba, od kojih poneki zavrjeuju pozornost.
Vremenom smo se osvjedoili kako je kulturalno-urbani model
zasnovan u poslijeratnu razdoblju, unato tadanjim politikim
i ekonomskim ogranienjima pokazao svoju funkcionalnost i
uspjenost. Urbana morfologija koju batinimo iz toga doba poiva
na omjeru stanogradnje i nunih sadraja potrebnih da bi naselja
mogla funkcionirati (djeji vrtii, kole, usluni centri). Za razliku
od toga, dananje tranzicijsko razdoblje postavilo je nove kriterije;
trajna privremenost sintagma je koja ilustrira prevladavajue
standarde koje jo uvijek nije mogue klasificirati, a demokratizacija
i liberalizacija uvjeta izgradnje ne vode nuno prema arhitektonskoj kulturi kakvu smo iekivali.
Odabrani detalji povijesti izgradnje sportskih objekata.
Izgradnja sportskih objekata u Zagrebu od druge polovice 19. stoljea pa sve do danas pokazuje odreene slinosti. Prva graevina
namijenjena sportu u Zagrebu streljana na Tukancu dovodila
se u vezu s kulturnim, prosvjetnim i slinim sadrajima, kakvima je
djelomino namijenjena i novosagraena zgrada Arene. Osnutak
organiziranih sportskih drutava nije bio praen adekvatnom
izgradnjom, a rubni smjetaj tih sadraja onda kao i danas
moe se do neke mjere dovesti u vezu s perifernim poloajima
zemljita, ali i opeg stava prema sportu. Tradicionalni nedostatak
sportskih terena anuliran je izgradnjom pojedinih objekata, koji
danas uglavnom vie ne zadovoljavaju standarde niti su u mogunosti sluiti raznovrsnim sadrajima.
Ako zavirimo u povijest izgradnje kako bismo pronali primjere
koji humanim principom pripomau odreivanju specifinosti
zagrebake arhitekture, spomenimo stadion u Maksimiru. Piui
o Areni, neizbjeno se prisjeamo zapadne tribine betonskog
skeleta velikog, monog ritma, po istoi konstrukcije i plastikoj izraajnosti bez presedana u naoj poslijeratnoj arhitekturi
16

izvedene na Dinamovu stadionu (Turina, Neidhardt, Erlich,

1946. 1955.). Loginost toga konstruktorskog zadatka omogu
ila je proimanje okoline i stadiona na jedinstven nain, ime su
javni prostor i ljepota Maksimira postali dijelom sportskoga kompleksa. iri urbani kontekst maksimirskog primjera te Arene i
Lanita nezahvalno je usporeivati, no spomenimo kako oblinji
Jarun pripada meu najbolja hortikulturna rjeenja usklaena sa
sportskim sadrajima koji se odvijaju na jezeru; povezanost dvaju
lokaliteta spletom pjeakih staza pridonijet e istraivanju i koritenju grada iz drukije, aktivnije perspektive.
Ikoninost i konstruktivnost. Arena se isprva inila poput skulp
ture na livadi, u urbanistiki jo uvijek neartikuliranom okruenju
zapadnog pristupa gradu koji e, sudei prema master-planovima,
biti zakljuen s nekoliko visokogradnji te nizom stambenih objekata
uza savsku obalu. Zahvaljujui ritmu izgradnje, ubrzo smo bili u
prilici uvjeriti se kako je rije o osobitu spoju graevinskih strategija i oblikovanja, primjeru konstrukcijsko-inenjerske arhitekture
gdje se forma izravno vee uza strukturu. Gledana kao znak, Arena
je liena simbolike i asocijacija koje bismo moda mogli oekivati.
Zakrivljena rebra zadravaju prizmatian volumen unutar cjeline,
a zahvaljujui rastvorenosti ulazne zone i osvijetljenosti sredinjeg
dijela omoguena je komunikacija zgrade s okolinom. 86 nosaa
raznih visina (od 28 do 37 m) tvore dinamino ritmiziranu ovojnicu
ija se organinost na koncepcijskoj razini moe dovesti u vezu
sa sportskim dogaanjima, no koja istodobno ovisi o naelno jednostavnim fizikalnim zakonima. Lijevani tik uz mjesto izgradnje,
nosai su element u kojem se sjedinjuju ekspresivnost oblika i
funkcionalnost konstrukcije.
Zagrebaka Arena graevina je od posebnoga znaaja, gradsko obiljeje ikoniki oblik koji na zapadnom ulazu u grad najavljuje izvjestan odmak od urbane sheme unutar koje je izgraen.
Njezina kratkotrajna povijest je burna, definirana uvjetima koji vladaju u dananjem tranzicijskom drutvu. Sposobnost prilagodbe,
brzog rjeenja problema, kultiviranja ambijenta namijenjenog
sportu, zabavi, sajamskim i konferencijskim sadrajima sve to i
jo mnogo toga bilo je potrebno zadovoljiti da bi ta osobita, bijela
konstrukcija izdrala teret koji joj je namijenjen. A on nije lak.
Funkcionalna zadatost unutarnjeg prostora, ovisna o odluci
o vrstama i broju sportova kojima je borilite namijenjeno, kao

sadrajima jo nisu postale dio kolektivnoga urbanog identii o predvianju teine opreme koju svaki bolji rock&roll sastav
teta, nego su najee tek ideje na papiru, odnosno u raunalu.
mora moi objesiti iznad pozornice, tek su dio zadanih parametara
Sportsko-poslovni kompleks Cibona (Hri, Pitea, erbeti, 1985.
koji uvjetuju interijer Arene. Fleksibilnost gledalita, osim vrstom
sporta, uvjetovana je i injenicom da e Arena tek 30 posto svoga 1986.) izgraen je na mjestu gdje je bilo mogue ostvariti idealnu
gradotvornu arhitekturu, no unato tom pozitivnom iskustvu
vremena sluiti sportskim dogaanjima.
mnoge nove gradske etvrti zapravo potvruju davno iznesenu
Autori arhitektonskoga projekta Berislav Medi, Alan Leo
Pletina, Nenad Borgudan i Tamara Stanti-Bri iz UPI 2M prven- tezu Milana Preloga o rastu grada na principu gomilanja zona u
stveno su morali zadovoljiti brojne uvjete koji pretpostavljaju funk- kojima se samo stanuje ili samo radi. Povijesno zagrebako sredite odavno nije u stanju zadovoljiti promijenjene interese i navike
cionalno i rentabilno koritenje Arene, a vanjsko oblikovanje je
graana, koji unato nedostatcima urbaniziranih podruja trae
ono u emu su mogli pokazati svoje umijee. Proelje su kontinuinove mogunosti osjeanja zajednitva u prostoru i vremenu.
rano obuhvatili prednapregnutim betonskim rebrima, sredinji dio
Situacija na Lanitu mogla bi postati primjerom mjesta osmiljekojih povezuju mlijenobijeli paneli, osvijetljeni sa stranje strane.
nog za spontane drutvenosti, druenja na otvorenom prostoru,
Na taj nain sloen i primarno funkcionalan unutranji organizam
odtereen je konstrukcijom koja djeluje lagano i prozrano. Rebra na sjecitu raznovrsnih interesa.
Iskoristivost Arene za sportska, kulturna, koncertna, konferen
se u gornjoj zoni pretvaraju u slobodne volumene, koji su na uim
cijska i sajamska dogaanja, kao i injenica da e svako od tih
stranama zgrade nii i pridravaju krovnu konstrukciju tvorei
dogaanja zgradu uiniti ivim, osvijetljenim organizmom, govori
osobitu, napetu petu fasadu ija elina uad ispisuje projektio artikulaciji jednoga dijela grada koji e zasigurno postaviti nove
ranu, gledateljima dodue nevidljivu, geometriju odnosa koji
kriterije vrednovanja. Tri pjeaka mosta koja graevinu povezuju
vladaju u unutranjosti.
s trgovakim centrom prekoraujui novu prometnicu unutar
Dok unutranjost Arene primarno mora zadovoljiti specifine
Lanita, postaju prostran javni prostor, zona kontakta gdje e ritam
zahtjeve fleksibilnosti borilita smjetaj izvlanih tribina prilagoenih trenutanom sportskom/koncertnom dogaaju, pozicionira- druenja i koritenja pulsirati u skladu s Arenom. Posljednjih mjenje i opremanje komentatorskih i VIP-loa na odreenim mjestima, seci autori arhitektonskoga projekta iz UPI 2M esto su isticali
mogunosti arhitekture koja izvire iz konstruktivne koncepcije, a
koritenje krajnje jednostavne i svima razumljive signalizacije te
ljepota stvorenoga nesvakidanjeg oblika, koji je ve proglaen
oblaganje povrina materijalima zadovoljavajuih akustinih svojnovim zagrebakim gradskim obiljejem, daje nam za pravo naslustava, to su sve uvjeti unutar kojih je kreativno umijee artikulatiti kako e ovaj sportski objekt postati jedan od vanih nositelja
cije prostora svedeno na minimum vanjtina se doivljava poput
identiteta grada.
svojevrsna ekscesa kojim projektanti pokazuju svoju vjetinu i
slobodu stvaranja neega to nije tipino. Pritom se ve mnogo
puta spomenuta konstrukcija pokazala kao dobra strategija, koja
konceptualno istie znaaj pojedinog elementa i njegove vanosti
u funkcioniranju cjeline, to takoer ima veze sa sadrajima kojima
je graevina namijenjena.
Doprinos urbanosti. Stanogradnja je proteklih desetljea odredila
razvoj i urbanost Zagreba, posebice njegovih novih dijelova, no
ni tada ni danas ta grana arhitekture nije rezultirala graevinama
koje bismo mogli prozvati gradskim obiljejima. Graevine od simbolikog znaenja za gradsku strukturu muzeji, kazalita, sportske dvorane, ambasade, zgrade namijenjene politikim i upravnim
17

SA N D RA K R I I RO B A N

The Zagreb Arena

a New City Landmark

without precedent in our post-war architecture according to its purity

The image before one when approaching Zagreb from the south is
of construction and plastic expression which was executed at
unique; it is a vista in which traces of urbanism hundreds of years old
Dinamos stadium (Turina, Neidhardt, Erlich, 1946-55). The logic of this
have been preserved, starting from the initial defined construction on
construction task enabled the environment and the stadium to interact
the slopes of Sljeme, through the ecclesiastical and secular hilltops
in a unique manner, whereby the public space and beauty of Maksimir
Kaptol and Gradec all the way to the suburbs and their planned block
became part of the sports complex. The wider urban context of the
design, the soothing, regular rhythm of which harmoniously encircles
the historical city core. By bridging the Sava, the citys expansion began, Maksimir example, and that of the Arena and Lanite will not be compared, but let us add that nearby Jarun is among the best horticultural
and there has been unbelievable growth in recent years, so that we can
solutions adjusted to the sports taking place at this lake; the connecwitness on an almost daily basis the results of Zagrebs new urban
tion between these two locations, via a network of walkways, will constrategy, some of which deserve attention.
tribute to the exploration and utilization of the city from a different,
Over time we have seen how the cultural and urban mode engenmore active perspective.
dered in the post-war years displayed its functionality and success,
despite the then political and economic obstacles. The urban morphology we inherited from that era relies on the ratio between housing con- Icon Qualities and Constructivity. The Arena first seemed like a
sculpture on a meadow, within an environment still not articulated in
struction and the necessary contents required for neighbourhoods to
urban terms, situated in the western city limits that will, if we are to
function (kindergartens, schools, service centres). In contrast, the transitional period of today established new criteria; permanent transience judge by the master plans, be completed by several high rises and a
line of housing blocks by the banks of the Sava. Thanks to the rhythm
is a syntagm which illustrates dominant standards still defying classiof construction, we were soon able to convince ourselves that this is a
fication, while the democratization and liberalization of conditions for
peculiar amalgam of construction strategies and form, an example of
construction still do not necessarily lead to the architectural culture
construction-engineering architecture where form is directly connected
we yearned for.
to structure. Viewed as a symbol, the Arena is stripped of the symbol
ism and associations we might possibly expect. The curved ribs contain
Selected Details of the History of Sports Facilities Construction.
a prism-like volume within the whole, and thanks to the openness of
The construction of sports facilities in Zagreb has exhibited certain
the access zone and the light in the central part, the building commusimilarities from the latter half of the 19th century until today. The first
nicates with the environment. Eighty-six supports of different heights
construction in Zagreb dedicated to sport the marksmanship ranges
(28 to 37 m) form a shell with a dynamic rhythm, the organic qualities
at Tukanac was linked to cultural, educational and similar facilities,
of which can be linked with sports events on the conceptual plane, but
which the newly built Arena is partly intended for as well. The estabsimultaneously depend on simple laws of physics in principle. Cast just
lishment of organized sports associations was not supported by adeby the construction site, the supports are elements unifying the expresquate construction, while the peripheral placement
sion of forms and the functionality of construction.
of these objects both then and now can be explained by the
The Zagreb Arena is a building of special importance, a landmark
peripheral positions of land plots, but also the general attitude to
an iconic form which announces a certain deviation from the urban
sports. The traditional lack of sports fields has been improved by the
scheme within which it was constructed, at the western entrance to the
construction of individual objects, which today mostly fail to comply
city. Its short history has been volatile, defined by the conditions ruling
with standards, nor are they able to serve different purposes.
the transitional society of today. The ability to adapt, fast solutions to
If we peek into the history of construction in order to find examproblems, the cultivation of an environment dedicated to sport, enterples that help us in determining peculiarities of Zagreb architecture
tainment, fair and conference facilities all this and plenty of other
through a humane principle of a sort, let us here mention the football
criteria had to be met in order for this peculiar, white construction to
stadium in Maksimir. Writing on the Arena, we cannot but rememwithstand the weight intended. Which was not light.
ber t he West Stand a concrete skeleton of large, powerful rhythm,
18

The functional limits of the interior depend on decisions on the

types and number of sports the pitch serves, as well as on the anticipation of the weight of the equipment each larger rock n roll band
must be able to hang above the stage these are but a few of the set
parameters conditioning the interior of Arena. The flexibility of the
spectator stands, apart from the type of sport, is also conditioned by the
fact that Arena will host sporting events only 30 per cent of the time.
The authors of the architectural design, Berislav Medi, Alan Leo
Pletina, Nenad Borgudan and Tamara Stanti-Bri, from UPI2M, primarily had to comply with numerous conditions which presuppose
functional and cost-effective use of Arena, while the outer form is where
they were able to display their skill. The facade was continuously framed
in reinforced concrete ribs, the central parts of which are connected
by milky white panels illuminated from behind. The primarily functional
inner organism conceived was thus lightened by its construction that
appears light and airy. The ribs turn into free volumes in the upper zone,
being shorter on the narrower sides of the building, supporting the roof
construction by forming a peculiar, tense fifth facade, the steel cables
of which delineate the designed geometry of relationships dominating
the interior, even though it is invisible to the spectators.
While the interior of the Arena must primarily comply with the specific requirements of the sports pitch the location of movable stands
adjusted to the current sporting or concert event, the position and
equipment of commentator booths and VIP boxes, the use of utterly
simple signalization understood by all, and the framing of spaces with
materials which have satisfactory acoustic qualities all conditions
within which the creative art of articulating the space has been brought
down to minimum the exterior is experienced as an excess of a sort,
used by the designers to exhibit their skill and the liberty to create
something atypical. The already often mentioned construction proved
a sound strategy here, which conceptually highlights the significance
of individual elements and their importance in the functioning of the
whole, connected to the purposes the building is intended for as well.

administrative purposes have still not become part of the collective

urban identity, but remain paper or computer ideas in most cases. The
Cibona sports and business centre (Hri, Pitea, erbeti, 1985-86) was
constructed in a location where it was easy to realize ideal citybuilding
architecture, but despite this positive experience, many new city neighbourhoods actually prove the thesis launched long ago by Milan Prelog,
regarding the growth of the city using the principles of piling up zones
where one is only to dwell or only to work. The historic Zagreb downtown area has long been unable to meet the changing interests and
habits of its citizens, who despite the deficiencies of urban areas seek
new possibilities for expressing togetherness in space and time. The
situation in Lanite could become an example of a venue conceived for
spontaneous socialization, getting together in the open, at the intersection of different interests.
The possibilities of utilizing the Arena for sporting, cultural, concert,
conference and fair events, just like the fact that each of these events
will bring this building to life, will make it a lighted organism, speak of
the articulation of one city part which will surely set new criteria for
valuation. Three footbridges connecting the building to a mall, by striding
over a new street within Lanite, become a spacious public area, a zone
for contacts where the rhythm of company and use will pulse in unison
with the Arena. The authors of the architectural design from UPI2M
have often emphasized in recent months the possibilities of architecture which stems from constructive concepts, while the beauty of created unusual form, already proclaimed a new Zagreb landmark, gives
us the right to guess this sports facility will become one of the pivotal
points of the citys identity.

A Contribution to Urban Planning. Housing has set the pace for

the development and urban planning of Zagreb in recent decades,
especially of its new parts, but this branch of architecture has not, neither back then nor today, resulted in buildings we could dub landmarks.
Objects of symbolic significance for the city structure museums,
theatres, sports halls, embassies, buildings dedicated to political and
19

503

TRAJANJE IZGRADNJE ARENE ZAGREB U DANIMA

DURATION OF THE CONSTRUCTION OF THE ZAGREB ARENA IN DAYS

210.000
VOLUMEN IROKOG ISKOPA U KUBINIM METRIMA
VOLUME OF EARTHWORK IN CUBIC METRES

9.500
KOLIINA ARMATURE U TONAMA
QUANTITY OF REINFORCEMENT IN TONS

Moj svakodnevni posao jest koordinacija svih

izvoaa koji rade na objektu, nadzor obavljanja
radova i njegove dinamike, nadzor broja ljudi,
kvalitete radova i planiranje. U planiranju graenja
uvijek je vano vrijeme i rok, od toga se kree.
Druga premisa na kojoj se sve temelji jest da se vie
tehnolokih procesa moe odvijati istovremeno, a
da jedan drugome ne smetaju. Tehnoloki se slijed
mora potivati i on diktira tempo i pojedine radnje.
Jasno je da je ovdje sam opseg puno vei, pa onda
moe raditi puno vie ljudi, potrebno je puno vie
strojeva i kranova. To je neto tee iskoordinirati
jer treba puno vie pratiti zbivanja na gradilitu
kako netko ne bi naruio taj sklad.
My everyday job consists of the coordination of all
the contractors working on the structure, supervision
of the performance of the work, the dynamics, as well
as control of the number of people, quality of the
work, and planning. Time and deadlines are always
important in the planning of construction, and thats
the starting point. The second premise on which it is
all based is that several technological processes can
go on at the same time without getting in each others
way. The technological sequence has to be respected,
and it dictates the tempo and the individual actions.
Clearly the range and scope here are much greater,
and then a lot more people can work simultaneously,
many more machines and cranes are required. Thats
a bit more difficult to coordinate, because one has to
keep up with events on site so that no one disturbs
the harmony.
DA R KO KO R E T I , glavni inenjer gradilita / chief site engineer;
I N G RA D . D .

65.539
POVRINA PODOVA U KVADRATNIM METRIMA
FLOOR SURFACE IN SQUARE METRES

160-220
MASA FASADNIH LAMELA U TONAMA
WEIGHT OF FACADE RIBS IN TONS

Razmatrajui koncepciju lamela, u razgovorima

s ostalim partnerima u procesu gradnje, naroito
s kolegama iz tvrtke Tome Lui, doli smo do
ideje da lamelu prefabriciramo u jednom komadu.
Odluili smo proizvoditi lamele u pogonu na
gradilitu i zatim ih dizati i postavljati na mjesto
dizalicom. To je bilo podudarno s projektantovom
idejom jer je njemu zbog to bre izvedbe trebala
uinkovita prefabrikacija lamela.
Thinking over the conception of the concrete ribs,
in talks with the other partners in the construction
process, particularly with colleagues from Tome Lui,
we came upon the idea to prefabricate the ribs in a
single piece. We decided to produce the ribs in an
on-site plant and then raise them and put them into
place with a crane. This coincided with the architects
idea, because for the sake of rapidity of production he
needed effective rib prefabrication.
A N TO N I O TO M I , D I N A R I K D . O . O . , tehnologija proizvodnje i

montae fasadnih lamela / technology of the production and assembly of

the facade ribs

Samo se timski i sinergijom znanja i iskustva

mogao izvesti jedan tako zahtjevan projekt kao
to je izvedba lamela koje su teke i do 220 tona.
Tijekom izvedbe bilo je odreenih promjena i
projekta i izvedbe. Primjerice, u malim lamelama
imate 4, a u velikim 12 kablova za prednaprezanje.
To je velika razlika i svaka lamela je zahtijevala
zaseban pristup. Rok je bio taj koji je odreivao
ritam i morali smo vrlo brzo reagirati na svaku
novu situaciju.
Only by teamwork and the synergy of knowledge and
experience was it possible to pull off as a demanding
project as the making of concrete ribs that were up
to 220 tons in weight. During the work there were
certain changes in both the project and the execution.
For example, in the small concrete ribs you have 4,
and in the large ones 12, cables to be prestressed.
This is a big difference, and each concrete rib needed a separate approach. The deadline was what
determined the rhythm and we had to react very fast
to each new situation.
H RVOJ E RAG U - VO D E N AC , PA L M I R D . O . O . ,

prefabrikacija fasadnih lamela / the facade rib prefabrication

U pogonu je bilo postavljeno 8 oplata. Tjedno smo proizvodili 4 do 6 lamela. Koristili smo samo jedan tip oplate, koja je
samo po potrebi visinski mijenjala svoj oblik. Lamela u sebi
ima izuzetno mnogo armature, kablova i ostalih insertacija,
tako da je zbog raznih spojeva bilo problem izvibrirati beton.
Kolege iz Cemexa potrudile su se napraviti prikladnu recepturu betona, a onda smo ga vibrirali oplatnim vibratorima.
Eight formworks were installed in the plant. We produced 4 to
6 elements a week. We used just one type of formwork, which
changed its shape in height only when needed. Each concrete rib
has a great deal of cables and reinforcing and other insertions
inside it, so because of the various connections it was a problem
to vibrate the concrete. Our colleagues from Cemex did their
best to make a suitable composition for the cement, and then we
vibrated it with formwork vibrators.
A N TO N I O TO M I , D I N A R I K D . O . O .

Operaciju prenoenja obavljali smo tako da smo

jednom dizalicom dopremali lamelu iz oke, a
drugom je preuzimali, vertikalizirali je i donosili do
mjesta montae. To praktiki znai da smo u zraku
preuzimali tih 220 tona teku lamelu. Kada smo
vertikalizirali lamele visoke od 27 do 37 metara,
morali smo ih dovesti u poziciju s preciznou od
praktiki 5 mm. To smo radili uz blisku suradnju
s geodetima.
We carried out the transport operation by bringing
the rib from the formwork base with one crane, then
transferring it to the second crane which raised it
to the vertical and brought it to the assembly point.
This in practice meant that we transferred the 220ton element in the air. When we had verticalised the
elements 27 to 37 metres high, we then had to get
them into position with a tolerance of about 5 mm.
We did this in close collaboration with the surveyors.
TO M E LU I , T L TO M E LU I D . O . O . , montaa betonskih
elemenata i radovi dizanja / assembly of facade ribs, crane work

37

VISINA FASADNE LAMELE U METRIMA

HEIGHT OF FACADE RIB IN METRES

Izvedba prve lamele bio je svojevrsni test tehnologije. Dok

ne provjerite proces, nisu do kraja sigurni svi detalji. Kada se
montirala prva lamela, bili smo sigurni da koncept funkcio
nira i potom smo ili raditi na detaljima brzine, dinamike,
kvalitete itd.
Producing the first facade rib was in its way a test of the
technology. Until you test the process out, you are never going
to be sure of every detail. When the first element was assembled,
we were sure that the concept worked, and then we went to work
on the details of speed, dynamics, quality and the rest.
A N TO N I O TO M I , D I N A R I K D . O . O .

Dizalica se kree po gusjenicama. Prilikom prenoenja

lamele do pozicije ugradnje dizalica je iza sebe nosila 180
tona utega, a ispred sebe 220 tona teku lamelu. Dizalica
mora imati slobodan put pa dan prije moramo sve osmisliti
i koordinirati da ne doe do neke prepreke. Ne zaboravimo
da su se transportirale lamele teine od 170 do 228 tona.
Iza dizalice su svaki dan ili valjak i bager, jer put dizalice ne
smije imati nagib vei od 1%. im je nagib vei, ravnotea
lamele vie ne funkcionira. Bilo nam je vano da lamele
donosimo na mjesto montae potpuno horizontalno, kako
zbog ravnotee tako i zbog oslanjanja lamele na leite s
9 vijaka, to je znatno lake nego postaviti lamelu koja visi
izvan teita. Njena donja ploa za montau je uvijek morala
stajati ravno.
The crane moves on its caterpillar tracks. While the concrete ribs
were being moved to their assembly position the crane carried
behind it 180 tons of ballast, and in front of it the 220-ton rib.
The crane had to have a clear path, and the day before we had
to think everything out and coordinate it all so there were no
obstacles. Lets not forget that there were elements of 170 to
228 tons being transported. After the crane, every day there was
a roller and a bulldozer, because there couldnt be an inclination
of more than 1% in the cranes path. It was important for us to
get the elements to the assembly place completely horizontally,
because of the balance and because of fitting the elements to a
bearing with 9 screws, which is a lot easier than putting in place
an element that is hanging off the centre of gravity. The ribs lower
assembly always had to stand straight.
TO M E LU I , T L TO M E LU I D . O . O .

Radi preciznosti izvedbe ustrojili smo geodetsku slubu koja

je pratila izvoenje svih radova. Oni su sve nadzirali, postoje
protokoli i zapisi o obavljenim kontrolama i radovima tako
da su odstupanja minimalna, unutar tolerancija koje projekt
doputa. Posebno su osjetljivi detalji lamela zbog svoje
viestruke funkcije. Tu je preciznost bila posebno zahtjevna.
Geodetskih kontrola bilo je na nekoliko razina, od geodetske
kontrole samog izvoaa, Ingrine geodetske kontrole putem
nae geodetske slube i kontrole geodetske slube nadzornih
inenjera. To su tri razliite geodetske slube i tri razliite
osobe koje jedna drugu nadziru.
For the sake of precision execution we set up a surveying unit
that monitored the execution of all the operations. They supervised everything, there are protocols for and minutes of the
controls and operations carried out so that there are minimum
deviations, well within the tolerances that the plan allows for.
The details of the ribs are particularly sensitive, because of their
multifunctionality. Here, precision was particularly demanding.
Surveying controls took place at several levels, from the control
of the contractor itself, Ingras own surveying control, via our
surveying unit and the control of the surveying unit of the
supervising engineer. There are three surveying units, and three
different persons, all checking on each other.
DA R KO KO R E T I , I N G RA D . D .

1.000

MAKSIMALNI BROJ DJELATNIKA NA GRADILITU U JEDNOM DANU

MAXIMUM NUMBER OF WORKERS AT THE CONSTRUCTION SITE IN ONE DAY

27.337
TLOCRTNA POVRINA GRAEVINE U KVADRATNIM METRIMA
BUILT SURFACE IN SQUARE METRES

10
TORANJSKIH DIZALICA
TOWER CRANES

Izuzetno osjetljivi trenutak bilo je postavljanje lamele na do

tada gotov dio betonske konstrukcije. Lamela je due vrijeme
trebala stajati nepridrana, privrena samo u peti. To je
zahtijevalo izuzetno preciznu izvedbu pete lamele jer su u
njoj bile ostavljene rupe za vijke kojima e biti privrena.
Pri dnu se nalaze i bone rupe koje slue za zatezanje matica
na vijcima. Iz predostronosti smo lamelu dodatno zategnuli
sajlama i ona je tako ekala trenutak kada e se prikljuiti na
monolitnu konstrukciju koja se paralelno izvodila. U trenutku
kada se lamela spojila s prstenovima koji idu radijalno oko
cijele Arene, ona je preuzela noenje dijela konstrukcije i tada
je sve poelo djelovati kao cjelina.
An exceptionally tricky moment was putting the ribs onto the part
of the concrete construction finished to that date. The rib had
to stand there unsupported for a long time, attached only at its
foot. This meant that the foot of the rib had to be made extremely
precisely, for there were holes left in it for it to be fastened on. At
the bottom there are perforations on the sides for tightening the
nuts onto the bolts. As a precautionary measure we additionally
tensioned the ribs with cables, and so they waited there until the
moment when they would be fixed onto the monolithic construction that was being built in parallel. The moment when the rib
was joined with the rings going radially around the whole of the
Arena, it took over supporting part of the structure, and then it all
started working as an integrated unit.
TA M A RA STA N T I B R I , U P I 2 M D . O . O .

Lamela u sebi sadrava puno tehnoloki suvremenih rjeenja.

Lamele su prednapete, to je rijeilo problem nosivosti, ali i
problem brze montae jer se njom moe bre manipulirati.
3 do 4 dana nakon betoniranja mogli smo lamelu dizati iz
oplate i proizvoditi sljedeu, a morali smo proizvesti 86
lamela u 80 dana.
There are a lot of modern technological approaches in the actual
ribs. They are prestressed, solving the problem of load-bearing
strength, as well as the problem of rapid assembly, because you
can manipulate them faster. Three or four days after pouring we
were able to lift a rib out of the formwork and produce the next
one, but then, we had to produce 86 ribs in 80 days.
B E R I S L AV M E D I , U P I 2 M D . O . O .

Lamela je montani prefabricirani element to nam je omoguilo da gradimo kuu neovisno od lamele. Tek u trenutku
kada imamo gotovu lamelu, spajamo je na konstrukciju kue.
Trebalo je nai nain da se naprave elementi koji e omoguiti
relativno brzo i uinkovito spajanje. U beton i lamele ugraivani su nastavci putem kojih se formiraju vorovi armature
za spajanje dvaju elemenata. Tako se ostvario kontinuitet u
armaturi, a da to nije imalo posljedice na proizvodnju lamela
i tribine, jer su se one naknadno sastavljale.
The rib is a prefabricated element for assembly, and this enabled
us to build the sports hall independently of the ribs. Only when
we had a ready-made rib did we then attach it to the construction of the sports hall. So we had to find a way of making elements
to facilitate relatively rapid and effective joining. The concrete
and the ribs both incorporate reinforcement strands from which
the nexuses of the reinforcing for the joining of the two elements
are created. So we had a continuity in the reinforcing without this
having any effect on the production of the ribs or of the stands,
because they were put together subsequently.
B E R I S L AV M E D I , U P I 2 M D . O . O .

U izvedbu krova ukljueno je ukupno est koope

ranata, a po pitanju struka to su dodatni projektantski kadar, ljudi strojarske i graevinske struke,
krovopokrivai, ljudi struni za toplinsku- i hidroizolaciju i pneumatiku. Specifinost ovog projekta je
zahtjevan rad na visini pa je potrebna izrazita preciznost pri izvoenju. Takoer, rokovi su vrlo kratki.
Primjerice, svi smo bili svjesni da treba zapoeti s
nabavom materijala zbog dugih rokova isporuke
dok jo ugovorne obaveze nisu bile rijeene. Na
temelju pisma namjere i velikog povjerenja u investitora naruili smo 2 000 tona sirovog elika iz inozemstva, sajle su naruene i uplaene unaprijed
Six subcontractors were involved in the making of
the roof. In terms of trades and expertises there were
additional design staff, people in engineering and
building, roofers, people with expertise in thermal and
hydro insulation, and pneumatics. A particular feature
of this project is demanding work at height and great
precision is required in the execution. And then the
deadlines were very tight. For example, we were all
aware that, because of the long delivery times, we had
to start off with the procurement of materials while
the contractual obligations had still not been defined.
On the basis of a letter of intent and great trust in the
client, we ordered 2,000 tons of raw steel from abroad,
the cables were ordered and paid for in advance...
LU K A A N D R I JA N I , E N I KO N D . D . ,

izvedba krovne konstrukcije / contractor for the roof structure

Elemente krovne konstrukcije Arene radili smo

praktiki 24 sata u tri smjene sa 130 djelatnika.
U ta su dva mjeseca u prosjeku od nas dnevno
izlazila po dva lepera robe. Nakon ulaza materijala
u na pogon slijedi priprema pa rezanje ogromne
koliine limova raznih dimenzija na automatskoj
(CNC) rezaici. Zatim ide obrada profila sa CNC
linijom, predmontaa u naem pogonu, slaganje
pojedinih elemenata, nakon toga zavarivanje te se
izvodi antikorozivna zatita airless tehnologijom.
Materijal se kontinuirano proizvodio i slao na gradilite. Bitno je da se gradilite koordinira s proizvodnjom da bi se tono utvrdilo koji elementi gradilitu trebaju.
We worked on the roof structure elements for the
Arena practically 24 hours a day in three shifts with
130 workers. In those two months, on average practically two container loads of goods went out from our
firm every day. After delivery of the material to our
plant came the preparation for cutting that enormous
quantity of plating of various dimensions on an automatic cutter (CNC). Then came the working of sections
with a CNC line, preassembly in our plant, putting the
individual elements together, after that welding, and
then airless spraying of anticorrosive protection was
done. There was a continuous production of material
and sending it to the site. It was essential for the site to
be coordinated with production in order to determine
which elements were needed there.
A N E L KO F E R E K JA M B R E K , M P RO F I L D . O . O . ,

izrada i predmontaa elemenata krovne konstrukcije /

making and preassembly of roof structure elements

253

BROJ GLAVNIH ELEMENATA NOSAA KROVNE KONSTRUKCIJE

NUMBER OF MAIN ELEMENTS OF THE ROOF CONSTRUCTION

103,6
RASPON OVJEENE KROVNE KONSTRUKCIJE U METRIMA
SPAN OF SUSPENDED ROOF CONSTRUCTION IN METRES

Arena Zagreb je kombinacija low i high-tech principa.

Sofisticirane lamele monolitizirane su standardnom betonskom konstrukcijom i onda je s njih ovjeena high-tech
krovna konstrukcija. Krovna konstrukcija Arene Zagreb bliska
je konstrukciji viseeg mosta, lananice to je i u svijetu
rijetko rjeenje. Nosiva konstrukcija krova visoka je svega
45 cm na rasponu od preko 100 m samo zato to je ovjeena
izvana, s gornje strane krova, pa se u interijeru ne vidi. Takvo
je rjeenje omoguila suvremena tehnologija proizvodnje
kablova. Fascinantno je da 110-metarski raspon visi na
kablovima koji imaju promjer od samo 66 mm i da svaki od
tih kablova moe nositi 400 tona. Rije je o golemim silama.
Kablovi se na lamele montiraju po principu slinom vijku i
matici. Na kraju kabela nalazi se glava s navojem. Uz pomo
specijalnih hidraulikih prea preuzima se sila iz kabela i
dotee matica.
The Zagreb Arena is a combination of low and high tech. The
sophisticated ribs are made monolithically in ordinary concrete
structure, and then a high-tech roof structure is hung from them.
The roof structure of the Zagreb Arena is close to the structure
of a suspension bridge, a chain bridge, which is an uncommon
approach anywhere in the world. The roofs bearing structure is
only 45 cm high, over a span of over 100 m, just because it is
suspended from outside, from the upper side of the roof, and it
cant be seen from the interior. This kind of solution was made
feasible by contemporary cable production technology. Its fascinating that the 110-metre span is suspended on cables that have
a diameter of just 66 mm and that each such cable can carry
400 tons. These are vast forces. The cables are assembled onto
the ribs according to the nut and bolt system. At the end of each
cable is a nut. With the use of a special hydraulic press, the force
was taken up from the cable and the nuts were tightened.
B E R I S L AV M E D I , U P I 2 M D . O . O .

Na gradilitu je 800 ljudi, no njima treba pribrojiti i one koji

su u radionicama, dakle one koji pripremaju elemente koji se
dopremaju, a potom ih montaeri ugrauju. Konkretno, rije
je o krovu i krovnoj konstrukciji. Tu su i svi ostali pogoni, primjerice, bravarski i stolarski, gdje se stvari prvo pripreme u
radionici, a onda se montiraju. Uvijek je potrebno te dijelove
pregledati i u radionici, prije nego dou na gradilite. Dakle,
osim 800 ljudi koji su tu stalno prisutni, sigurno ih je ukljueno jo toliko izvan gradilita da bi sve moglo funkcionirati.
There are 800 people on-site, but to these you have to add those
in the workshops, that is, those who are preparing the elements
that are delivered, that the assemblers construct. Specifically, this
is about the roof and the roof structure. Then there are all the
other departments like, for example, metalworking and carpentry,
where things are first prepared in workshops and then assembled. It is always necessary to inspect these parts in the workshop
before they arrive on-site. So, apart from the 800 people who are
present all the time, there are as many off-site involved for it all
to be able to work.
DA R KO KO R E T I , I N G RA D . D .

2.000
MASA ELINE KROVNE KONSTRUKCIJE U TONAMA
WEIGHT OF STEEL ROOF CONSTRUCTION IN TONS

Vrlo bitan element krovne konstrukcije je stabilizacijska

reetka. To su dva uzduna elementa koja vise s glavnih
nosaa i spajaju ih. Reetke slue da anuliraju asimetrinost
optereenja poput nagomilanog snijega i slino. Dodatno
se optereenje jednog nosaa putem stabilizacijskih reetki
rasporedi na ostale nosae, to nam omoguava i zamjenu
kabela. Ako se neto dogodi, moemo otpustiti eljeni kabel,
a ostali e preuzeti dodatno optereenje. Pokazalo se da to
sjajno funkcionira ve i u fazi montae. Takoer, forma krova
je osjetljiva na djelovanje vjetra, odnosno odizanje, pa stabilizacijska reetka slui i kao potrebni dodatni teret.
The stabilisation girder is an essential element of the roof structure.
This consists of two longitudinal elements that are suspended
from the main girders and join them. They are used to cancel out
asymmetrical loading like snow piling up and so on. If one girder
is overloaded, then the excess load is transferred to the other
girders via the stabilising girder, which also enables us to replace
cables. If something happens, we can relax the desired cable, and
the other cables will take up the extra load. It turned out as early
as the assembly stage that this works brilliantly. And the roof
shape makes it sensitive to the effects of the wind, i.e. to lifting,
and the stabilisation girder works as an additional necessary load.
B E R I S L AV M E D I , U P I 2 M D . O . O .

Osnovni element krovne konstrukcije sastoji se od 23 osi po

11 nosaa. Svaka od 23 osi je razliita zbog geometrije zaobljenosti. Izrada zahtijeva da se svaki nosa radi posebno jer
ne postoje dva identina. Svi spojevi konstrukcije ostvaruju
se zavarima kvalitete I i visokovrijednim pocinanim vijcima.
Sveukupno postoji priblino 6 500 spojeva.
Konstrukcija krovita dvorane su elini valjani H profili HEB
450 ovjeeni preko raspona od 100 m sustavom ovjesnih
pletenih uadi promjera 60 mm i vjealjki iz punih krunih
elinih profila 35 mm.
The basic element of the roof construction consists of 23 axes,
with eleven girders each. Each one of the axes is different because
of the geometry of the curvature. Each girder has to be made
separately because there are no two identical ones. All the structural joins are done with top quality welds and expensive galvanised screws. Altogether there are about 6500 joins.
The roof structure of the hall consists of rolled steel HER 450 H
sections suspended over a span of 100 m with a system of suspended plaited cables of 66 mm diameter and solid circular-section
suspension rods 35 mm in diameter.
A N E L KO F E R E K JA M B R E K , M P RO F I L D . O . O .

Na gradilitu se montiraju sekcije krovne konstrukcije.

Pojedina se os sastoji od 11 nosaa. Na gradilitu se predmontiraju segmenti od po 3 osi. Dakle, imamo 3 osi puta 3
elementa, a to je 9 to ini jedno polje, zbog dizanja. To polje
je trodimenzionalno sloeno. Sve smo nosae geodetski snimali u pogonu da bismo ostvarili lagano zakrivljenu geometriju i poziciju pojedinih elemenata u prostoru. Bit je u tome da
mi moramo po nacrtima potivati sve kote i mjerilo unutar
milimetar ili dva i onda se dobiju mjere koje odgovaraju.
The sections of the roof structure are assembled on-site. An indi
vidual axis consists of 11 girders. At the site, segments of three
axes each are pre-assembled. So we have three axes of three
elements each, and that makes 9, which is one field, because of
the design. This field is arranged three-dimensionally. We surveyed
all the girders in the plant to get a slight curved geometry and
the position of individual elements in the space. The point here
is that we had to stick to all the heights and the scale according
to the drawings to a millimetre or two, and then the measures
that suited were obtained.
A N E L KO F E R E K JA M B R E K , M P RO F I L D . O . O .

Ingra je, kao glavni izvoa radova, sa svojim inenjerima,

ekonomistima i ostalim osobljem vodila cijeli projekt.
U gradnji je sudjelovalo, u veoj ili manjoj mjeri, oko stotinjak razliitih tvrtki koje su svaka u svojoj djelatnosti pridonijele uspjenom zavretku projekta. U pojedinim fazama
izgradnje na gradilitu je radilo vie od 1 000 ljudi dnevno,
a ponekad prema potrebi i kad je tehnologija posla zahtijevala, radilo se i nou. Zbog velikog broja razliitih aktivnosti
koje su se paralelno odvijale, da bi se mogla pratiti dinamika
i osigurati rad svima, svakodnevno su se odravali koordinacijski sastanci. Mimo tih sastanaka, jednom tjedno odravali
su se sastanci predstavnika svih izvoaa, projektanata i
nadzorne slube.
Ingra, as the principal contractor, has led the entire project via
its engineers, economics experts and other staff. About one
hundred different companies participated, in varying degrees,
in the construction, each of which contributed to successful
project completion in their own line of expertise. During certain
construction phases over 1,000 people were working at the
site every day; even at night, when necessity and technology
required. Coordination meetings were held daily because of the
large number of different activities taking place at the same
time, and in order to be able to keep track of the dynamics so
that everybody could have favourable working conditions. Apart
from these meetings, meetings of representatives from all the
involved companies, designers and supervisory services were
held once a week.
DA R KO I VA N DA , I N G RA D . D .

840

BROJ KROVNIH VJEALJKI

NUMBER OF ROOF SUSPENSION CABLES

Projekt je razmjerno velik i teko je oekivati od projektanta

da moe predvidjeti svaku sitnicu te je prikazati na nain da
je jasna krajnjem izvritelju. Ponekad postoje neke nedoumice, a moja je uloga da vidim o emu je rije i pokuam ih
objasniti u suradnji sa svojim suradnicima i kolegama. Ako
je u pitanju neto to bi zahtijevalo projektantsku odluku ili
intervenciju, konzultiramo se s projektantima i problem se
rijei. U Ingri smo radili projekt organizacije i tehnologije
graenja gdje su osnovne aktivnosti razraene i predviene,
ali postoji i niz drugih manjih poslova koje bi bilo vrlo teko
detaljno isplanirati unaprijed. Poslije je projekt dopunjavan
i doraivan po segmentima, prema potrebi.
The project is relatively big and the architects can hardly be
expected to foresee every little detail and present it in such a
way that its clear to the contractor. Sometimes there are some
doubts, and its my job to see what theyre about and attempt to
explain them, working together with associates and colleagues.
If it involves something that requires a decision or intervention
from the architect, then we consult with the architects and the
problem gets solved. In Ingra we worked out the project organisation and building technology, in which the basic activities were
determined and anticipated, but still there is a string of lesser
activities that would have been very difficult to plan in detail in
advance. Later on the plan was filled in and worked up in segments, when needed.
DA R KO KO R E T I , I N G RA D . D .

Dizanje sajli takoer radimo posebnim tehnologijama.

Glava na koju ide matica za zatezanje mora biti posebno
zatiena. Sajle se na krov diu u kolutima gdje se rasteu.
Kad se na krovu nategne sajla, vjeaju se tapovi. Prilikom
rastezanja sajli potrebno je odrediti kut pod kojim e pojedina sajla ui u rupu u lameli i dizati ih u potpunosti prema
gore da se ne otete tapovi koji vise na njima Nae je da
dovedemo sajlu do mjesta gdje se mogu zavinuti matice
koje se uteu preama.
We also did the lifting of the cables with special technologies.
The head on which the tensioning screw goes has to be specially
protected. The cables go to the roof on drums and they are then
stretched out. When the cable is tensioned on the roof, the rods
are suspended. While the cables are being stretched you have to
determine the angle at which each cable will go into the hole in
the concrete rib and lift them all the way up so as not to damage
the rods that are suspended from them. It was our job to get the
cable to the place where the nuts that are weighted with presses
could be turned.
TO M E LU I , T L TO M E LU I D . O . O .

Krovna konstrukcija na neki nain lebdi nad dvoranom.

Kablovi se ovisno o temperaturi produljuju i skrauju, poloaj
se krova mijenja kako se to na njega objesi, a u betonskoj
se lameli deformacije dogaaju godinama. Dakle, sklop
krova je jako fleksibilan i dovesti ga u eljenu geometriju
svakako nije bio jednostavan posao.
The roof structure is in a way floating over the hall. The cables
expand and contract with temperature, and the position of the
roof changes, as does whatever is suspended from it, and over
the years deformation will occur in the ribs, and so the roof set is
very flexible, and so getting into the right geometry was not
a very simple job.
B E R I S L AV M E D I , U P I 2 M D . O . O .

Pokrov dvorane sastoji se od trapeznoga perforira

nog lima. Na njega dolazi PE folija, tj. parna brana,
zatim 200 mm termoizolacije, te na kraju PVC
folija koja je zavrni sloj hidro i termoizolacije. Te
folije se vare. Specifinost ovog rjeenja je u brzini
gradnje koja je ovdje presudna. Kvaliteta radova
varenom folijom je, naravno, dodatna sigurnost
hidroizolacije. Jednostavniji su raznorazni elementi
detalja spojeva hidroizolacije.
The covering of the hall consists of perforated trapezoidal corrugated steel sheets. After that comes PE foil,
i.e. a vapour barrier, then 200 mm of thermal insulation, and at the end PVC foil, which is the final hydro
and thermal insulation layer. These foils are heat
sealed. The particular feature of this approach is in
the speed of construction, which was the vital element
here. The quality of works with heat sealed foil is
of course the extra security of hydro insulation. The
varied elements of the details of the joins of the hydro
insulation are simpler.
V L A D I M I R PAV U I N , PAV U I N D . O . O . , limarski i izolaterski

radovi krova / metal plating and insulation roofing works

14.420
POVRINA ELINIH VISOKOVALNIH PROFILIRANIH LIMOVA NA
KROVU U KVADRATNIM METRIMA
SURFACE OF STEEL ROOF SHEETS IN SQUARE METRES

48

BROJ KROVNIH KUPOLA ZA ODIMLJAVANJE

NUMBER OF ROOF VENTS FOR SMOKE EVACUATION

8.760

POVRINA POLIKARBONATNIH FASADNIH PLOA U KVADRATNIM METRIMA

SURFACE OF THE POLYCARBONATE FACADE ELEMENTS IN SQUARE METRES

113.000
POVRINA OBOJANIH PLOHA U KVADRATNIM METRIMA
PAINTED SURFACE IN SQUARE METRES

367.054
UKUPAN VOLUMEN INTERIJERA ZGRADE U KUBINIM METRIMA
TOTAL VOLUME OF THE BUILDINGS INTERIOR IN CUBIC METRES

95.000
VOLUMEN BETONA U KUBINIM METRIMA
VOLUME OF CONCRETE IN CUBIC METRES

Cilj je dizajna sustava usmjeravanja i oznaavanja

Arene Zagreb postii da korisnici u svakom trenutku znaju gdje se nalaze, u kojem se smjeru nalazi
njihovo odredite (sjedalo, garderoba, WC itd.)
i koji je optimalan put do njega. Korisnike treba
voditi tako da lako prepoznaju svoj cilj i da budu
sigurni da se uvijek znaju vratiti na poetnu toku
ulaska, koji je u naem sluaju istovremeno i izlaz.
Svi elementi sustava zato moraju pruati konkretnu
trenutanu uputu za kretanje i istovremeno uvaavati prostorne elemente koje korisnik percipira kao
uporita u stvaranju mentalne mape, a to su, primjerice, bojom kodirani sektori, cirkulacija, toke
odluke, zone, specifini prostorni orijentiri itd.
The objective of the wayfinding and signage design
in the Zagreb Arena was to make sure that the users
at any given moment should know where they are,
and what the direction of the place they want to go
is (seats, coatrooms, toilets and so on), and what the
best way to get to it is. Users have to be directed so
they can easily recognise their objective and be sure
that they will always know how to get back to the
place where they came in at, which in this case is also
the exit. All the elements of the system must then
provide concrete and instantaneous instructions for
movement and at the same time respect the spatial
elements that the user perceives as key-points in the
creation of a mental map, for example, the colourcoded sectors, the circulation, decision points, zones,
specific spatial signposts and so on.
I RA PAY E R , C AVA R PAY E R D . O . O . , dizajn vizualnog identiteta

i sustava usmjeravanja / visual identity and wayfinding system

Zajednika odluka s investitorom bila je visoka inkluzivnost

i visoka usmjerenost korisnicima itljivost i vidljivost provjereno je besprijekorna iz svih kutova, piktogrami su nedvo
smisleni, a odabrana tipografija je posebno prilagoena
slabovidnima i u tom smislu ima i slubeni certifikat. Iako je
kodiranje bojom u Areni Zagreb dosljedno provedeno i slui
kao vaan alat u usmjeravanju, projekt signalizacije funkcionira i u sluaju kada korisnik ne raspoznaje boje, jer boja
samo pomae u orijentaciji, a nigdje ne zamjenjuje egzaktnu
verbalnu informaciju.
A decision made together with the client was that design should
be inclusive and user-orientated the legibility and visibility have
been shown to be impeccable from all angles, the pictograms
are unambiguous, and the typography employed is particularly
adapted to the visually challenged, and has an official certificate
to that effect. Although the colour coding in the Zagreb Arena
has been carried out consistently and serves as an important tool
in the directions, the signage project also functions if a user cannot distinguish colours, because colour only assists in orientation,
and never replaces exact verbal information.
I RA PAY E R , C AVA R PAY E R D . O . O .

919
UKUPAN BROJ PARKIRNIH MJESTA
TOTAL NUMBER OF PARKING SPACE

300

PRIBLINA MASA POMONIH KONSTRUKCIJA U TONAMA

APPROXIMATE MASS OF AUXILIARY CONSTRUCTIONS IN TONS

26

MAKSIMALNI BROJ REDOVA TELESKOPSKIH TRIBINA

MAXIMUM NUMBER OF ROWS OF TELESCOPIC SEATING

50.000
DUINA CJEVOVODA GRIJANJA I HLAENJA U METRIMA
LENGTH OF CLIMATE CONTROL DUCTS IN METRES

Projekt ini niz zavisnih, meusobno integriranih

projekata. To su projekti videonadzora, nadzora
pristupa, projekt evidencije ulaska posjetitelja,
protuprovalne i protuprepadne zatite, projekt
sustava za dojavu poara i projekt detekcije CO.
Preko jedinstvenog suelja upravlja se svim zavisnim projektima. Svi su sustavi integrirani tako
da je u bilo kojem sluaju sve povezano i s evaku
acijom i sa svim ostalim dogaajima nunim za
sigurnost posjetitelja i objekta. Ba je zbog te
integracije ovaj sustav jedinstven u Hrvatskoj, pa
ak i u svijetu.

Tvrtka Soboli preuzela je konzalting poslove

kompletnog osiguranja, od graevine u izgradnji,
tj. gradilita i same izgradnje objekta, preko planiranja, projektiranja i nadzora izvedbe i funkcioniranja sigurnosnih sustava budue dvorane. Sam
projekt osiguranja je multidisciplinaran. Budue
osiguranje dvorane temeljit e se na ugraenim
tehnikim sustavima zatite, no daljnju organizaciju
osiguranja preuzet e upravljaki menadment
dvorane. Za samu graevinu kao finalni proizvod
definirali smo tehnoloke i sigurnosne procedure,
odnosno protokole pristupa i kretanja u dvorani.
Ideja vodilja projekta je sigurnost posjetitelja kao
temeljna pretpostavka funkcioniranja sustava
zatite na ovako sloenom objektu.

The project consists of a number of dependent, integrated designs. These are video surveillance designs,
access control, a design for registering visitor entry,
anti-burglar and anti-intrusion protection, a fire alarm
system plan and a CO detection plan. All the dependent
projects are controlled via a single interface. All the
systems are integrated in such a way that at any moment in time they are all connected with evacuation
procedures and all the other events necessary for visitor
and facility security. It is this integration that makes the
system unique in Croatia and in fact in the world.

Soboli has taken on the consulting of jobs of total

security, from the building in the construction phase,
i.e. the site and the actual building of the facility, via
planning, designing and controlling the execution and
functioning of the security systems of the future sports
hall. The actual security project is multidisciplinary. The
future security of the hall will be based on the security
systems built in, but the further organisation of the
security will be taken over by the management of the
hall. For the building itself, as a final product we defined the engineering and security procedure, the protocols for accessing the hall and movement in it. The
principal idea of the project is visitor safety, the basic
precondition for the working of the security system in
a building as complex as this.

ST I P E BA L J K A S , P ROS P EC T U S D . O . O . ,

VLADIMIR CELINAK, SOBOLI D.O.O.,

projekt tehnike zatite / surveillance and security system design

sustav sigurnosti / security system

15.024
BROJ NUMERIRANIH SJEDEIH MJESTA NA TRIBINAMA
NUMBER OF NUMBERED SEATS IN THE STANDS

Dvorana je vienamjenska, multifunkcionalna i

samim time akustika ne moe biti idealna za sva
dogaanja. Trebalo je odrediti mjeru gdje e biti
zadovoljeno najvie korisnika i to tako da se najkritiniji dogaaji rijee, a one neto manje kritine
e se optimizirati na prihvatljivu razinu. Sigurno
da su, akustiki gledano, najvaniji vid dogaanja
glazbene priredbe, i to one koje se rade putem
ozvuenja s obzirom na veliinu dvorane. Toj vrsti
koncerata pogoduje priguen, tj. akustiki suh prostor, tako da prostor to manje utjee na glazbu.
Sportske priredbe, s druge strane, posebna su
problematika s obzirom da ih se ne moe napraviti
u potpuno priguenoj dvorani jer se onda gubi huk
navijanja, a time i potpora domaem timu. To su
krajnje vrijednosti unutar kojih se projekt kree.
U ovakvim velikim dvoranama akustika se mora
rijeiti tako da se uklopi u rjeenje interijera, a ako
je akustika dobra, ona se praktiki ne primjeuje.
This is a multi-purpose hall and this very fact makes it
impossible for the acoustics to be ideal for all events.
One had to set the measure where as many users as
possible would be satisfied, and for the most critical
things to be handled, and the less critical could still be
optimised. The most important type of event are music
performances, those that use speakers, because of the
size of the hall. This kind of concert is suited by a nonresonant, acoustically dry space, for the space to have
the least effect on the music. Sporting events on the
other hand are a special issue because they cant go
on in a completely dry hall. Then the roar of the fans is
lost, and so the home team doesnt get its support.
These are the parameter extremes within which the plan
moves. In halls of this size the acoustics has to be settled in such a way as to fit into the interior design, and
if the acoustics is good, then it is hardly even noticed.
P RO F. D R . H RVOJ E D O M I T ROV I , Z AVO D Z A E L E K T ROA KU ST I KU ,
FA KU LT E T E L E K T ROT E H N I K E I RA U N A R ST VA , Z AG R E B , projekt
akustikog ureenja / D E PA RT M E N T O F E L EC T ROACO U ST I C S , FAC U LT Y
O F E L EC T R I C A L E N G I N E E R I N G A N D CO M P U T I N G , Z AG R E B , acoustics

design

Vrste intervencija su vrlo razliite: od primjene akustike

apsorpcije, preko zakoenja povrina do smanjenja broja
ostakljenih ploha i difuzije. Podruja intervencija su fronte
VIP loa, krov arene, stranji zid gledalita, fronte galerija,
stranji zidovi VIP loa i eline grede krova. Kvaliteta zvuka
i akustika objekta prilikom koncertnih izvedbi postaju kljune
teme za muziku industriju. Tijekom godina svjedoimo poveanim oekivanjima u pogledu kvalitete zvuka. Nadalje, izvoai tee digitalnoj CD kvaliteti zvuka i prilikom koncertnih
izvedbi pa je potreba za kvalitetnom arhitektonskom akustikom imperativ. Arena Zagreb projektirana je prema visokim
akustikim standardima i ima sav potreban potencijal da je
se okarakterizira kao prvoklasnu graevinu u krugu meunarodnih koncertnih prostora.
The types of treatment are varied from the application of
acoustic absorption, angling of surfaces, reduction of glazed
areas and diffusion. Areas to be treated include: the fronts and
the rear walls of the VIP boxes, arena roof, balcony fronts, rear
walls of the spectator area and steel roof beams. The sound
quality and acoustics within a venue are becoming key issues
for the live music industry. Over the years we have seen an
increase in audience expectation in respect of sound quality.
Furthermore, artists are striving for digital CD quality sound for
live performances so the need for good architectural acoustics
is paramount. The Zagreb Arena is being designed to a high
acoustic standard and has all the potential to be regarded as a
first-class venue on the international concert tour circuit.
J I M G R I F F I T H S , VA N G UA R D I A CO N S U LT I N G ,

projekt akustikog ureenja / acoustics design

Veronica je projektant, ali ujedno i izvoai specifinih dijelova interijera Arene: svlaionica i garderoba,
ugostiteljskih objekata, garderoba za posjetioce i
recepcija, ulaza i info-pultova, VIP prostora i ureda.
Dvorana je specifinoga i suvremenog izgleda, a
prema ideji glavnih projektanata dosta je minima
listika. Mi smo pokuali tu nit vodilju provesti do
posljednjeg komada namjetaja. Nismo ili na
standardna rjeenja ili kupovne produkte poput
sportskog namjetaja, nego smo sami dizajnirali i
proizveli ormarie, klupe i sline elemente opreme.
Bilo nam je vano da postignemo visoku kvalitetu
u nama vanim prostorima, a to je javni prostor
unutar zgrade. Mislim da emo se pribliiti najviemu meunarodnom standardu.
Veronica is the designer as well as the contractor for
specific parts of the Arena interior: the changing rooms
and lockers, catering facilities, visitor cloakrooms, reception, entries and info desks, VIP spaces and offices.
The hall has a particular and contemporary appearance,
and according to the ideas of the main architects it is
fairly minimalist. We tried to carry this guiding principle
out down to the last item of furnishing. We did not
go for standard solutions or buy products like sports
furniture, rather we designed and produced our own
lockers, benches and similar items of equipment. It
was important for us to achieve a highly quality in the
areas that are important for us, and that is the public
space inside the building. We think that we shall meet
the highest international standards.
RO N A L D PATA F TA , V E RO N I C A D . O . O . , projekt interijera i izvoa

interijerskih elemenata / interior design, contractor for interior elements

Javno-privatno partnerstvo generiralo je dinamian razvoj

veine europskih gradova koji su se opredijelili za ambicije
sline ili jo vee od Zagreba. Ono je potaknuto ne samo
manjkom sredstava u javnom sektoru, nego i privatizacijom
dobara neophodnih za razvoj, posebno prostora. Vrijednost
prostora stalno raste, a Grad raspolae s premalo vlastitih
prostora, uz to, ne uvijek na lokacijama potrebnima za javne
investicije. Priprema izgradnje Doma hrvatskog rukometa,
gradnja Arene Zagreb kao jednoga od desetak hitno potrebnih sadraja za novi razvojni skok Zagreba, uz partnerstvo
Grada i Vlade Republike Hrvatske, za to je slikovit primjer.
Public-private partnership has generated the dynamic growth
of most European cities that have opted for ambitions the
same as or much bigger than Zagrebs. It is prompted not only
by a shortage of funds in the public sector, but also by the
privatisation of goods essential for development, particularly
land. The value of land is constantly on the rise, and the city
authorities have too little of its own land at its command, and, in
addition, not always in the areas necessary for public investment.
The construction of the Zagreb Arena, one of the dozen urgent
requirements for a new developmental leap of Zagreb, with the
partnership of the city and the Government of the Republic of
Croatia, is a telling example of this.
M I L A N BA N D I

Model javno-privatnog partnerstva primijenjen na Areni

Zagreb podrazumijeva dugoroan zakup objekta od strane
javnog partnera, koji nakon odreenog broja godina postaje
vlasnikom dvorane i svih popratnih sadraja. Znai, javni
partner objekt isplauje viegodinjim zakupom, pri emu
je objekt izgraen iskljuivo sredstvima investitora u ijem
je i vlasnitvu sve do isteka ugovorom dogovorenog roka
zakupa. Osiguranje financiranja bio je jedan od zahtjevnijih
zadataka kako bi se projekt uspjeno i na vrijeme realizirao.
U izgradnji Arene Zagreb Ingra je angairala znatan dio
vlastitih sredstava. Gotovo polovicu od ukupne vrijednosti
projekta, koji iznosi otprilike 90 milijuna eura, inila su vlastita
sredstva dok je drugi dio osiguran bankarskim kreditom BKS
banke. Za Ingru, tvrtku s vie od 50 godina iskustva u voenju
velikih investicijskih projekata, Arena Zagreb predstavlja
jedan od najvanijih izvedenih projekata.
The model of public-private partnership applied to the Zagreb
Arena implies a long-term lease by the public partner, which
becomes the owner of the hall and all auxiliary objects after a
certain period. This means the public partner pays for the facility
through the long-term lease, while the facility is constructed
exclusively using the funds of the investor , who owns it until
the end of the contracted lease period. Ensuring financing was
one of the more demanding tasks in order for the project to be
realised successfully and on time. Ingra engaged a significant
portion of its own funds in the construction of the Zagreb Arena.
About half of the total value of the project, which amounts to
EUR 90 million, came from Ingras own funds, while the other
part was secured through a bank loan from BKS. For Ingra, a
company with over 50 years experience in executing large
investment projects, the Zagreb Arena represents one of the
most important projects it has executed.
I G O R O P P E N H E I M , I N G RA D . D .

Izuzetna mi je ast da sam ba ja kao Zagrepanin

zabio prvi gol u novoj Areni Zagreb u prijateljskoj
utakmici s Rusijom. Nadam se ta je taj prvi gol
tek poetak uspjeha hrvatskih sportaa u Areni
Zagreb. Iako sam u inozemstvu igrao u dvoranama
sline veliine, ipak je jedinstven osjeaj igrati
na domaem terenu i uz vatrenu podrku 15 000
svojih navijaa u jednom izuzetnom ambijentu. I
meni osobno, i svim igraima hrvatske rukometne
reprezentacije, a vjerujem i svim graanima, Arena
Zagreb znai izuzetno mnogo i kao mjesto za
velika sportska dogaanja, i kao novi graditeljski
simbol grada Zagreba.
It is a great honour to have scored the very first goal
in the Zagreb Arena, especially me being from Zagreb,
during the friendly match with Russia. I hope this
first goal is but the start of Croatian athletes list of
successes in the Zagreb Arena. Even though I have
played in sports halls of this size abroad, it is nevertheless a unique feeling to play on a home field,
enthusiastically supported by 15,000 fans in an exceptional environment. To me personally, and to all
players of the Croatian national handball team, and I
believe to all citizens, the Zagreb Arena means a lot,
both as a venue for large sports events, and as a new
architectural symbol of the City of Zagreb.
I G O R VO R I , hrvatski rukometni reprezentativac /

Croatian national handball team player

Igor Oppenheim, Marijan Kostreni, Darko Ivanda,

Vesna Ledi Oppenheim, Sandra Obuljen, Damir Crnkovi,
Hrvoje Cesar, Darko Koreti, Bruno Brunovi, eno
Jurii, Tomislav indler, Jasminka Vusak, eljko ili,
Slobodan Sua, Igor Mua, Dejan Dragi, Dalibor Mesari,
Marija Dodig, Tomislav Delivuk, Ivan Risek, Tomislav
Skoibui, Jelena Buan, Tomislav Antunovi, eljko
poljari, Dinko Pejkovi, Danko Deban, Tomislav Kueni,
Miran Koar, Ivan Getaldi, Tanja Turudija, Petar Radoevi,
Davor Banovac
T I M A R E N A Z AG R E B I N G RA , D . D . /
T H E Z AG R E B A R E N A T E A M I N G RA , D . D .

Za projekt je vana logika ulaza s visinske kote od pet metara,

koja je logina zbog brze distribucije gledatelja na tribine.
Zbog toga je formiran povieni trg koji je ujedno i postament
dvorane. Ideja je bila da se teren uzdigne na ulazni plato i to
smo izveli pristupnim tribinama s istoka, pa zatim rampama
prema zapadu i trgovakom centru. eljeli bismo da plato
zaivi kao jedan urbani prostor pa je, primjerice, dio ugostiteljskih lokala orijentiran i prema njemu.
For the design, the logic of the entry from an elevation of five
metres is very important, which is logical for the rapid distribution
of spectators to the stands. For this reason a raised plaza was
formed, which is at the same time the base of the sports hall.
The idea was for the ground to be elevated up to the entrance
concourse, and we did this with access stands from the east, and
then with ramps to the west and the mall. We wanted the concourse to be viable as an urban space and so, for example, some
of the commercial units face onto it.
B E R I S L AV M E D I , U P I 2 M D . O . O .

T LO C RT 1 . K ATA / 1 ST F LO O R P L A N

Arena je, pored ostalih namjena, trebala omoguiti odravanje Svjetskog prvenstva u rukometu 2009., ali i drugih
sportskih natjecanja. Na je prvi zadatak bio pronai koncept
koljke gledalita koji zadovoljava traene uvjete. U trenutku
kad smo dogovorili taj posao, Ingra je imala kontakte s
grkom tvrtkom Decathlon koja se bavi projektiranjem
sportskih objekata te nam je omoguila suradnju s njima.
Taj nam je poetni impuls znaajno skratio proces projektiranja jer smo u najkraem moguem roku odabrani model
koljke prilagodili zagrebakim uvjetima. Trebali smo se koncentrirati na bitno i koristiti ono to je poznato, a rjeavati
ono to je nepoznato.
The Arena has to cater for, among other things, the World
Handball Championship 2009, as well as other sporting events.
Our first task was to find a concept for the auditorium bowl that
would satisfy the requirements. Just when we had agreed on the
job, Ingra was having contacts with the Greek firm Decathlon,
which designs sporting structures, and so we could work with
them. This initial impulse considerably shortened the design
process, because in a very short time we were able to adjust the
chosen model of auditorium to Zagreb conditions. We had to
concentrate on the essentials and use what was known, solve
the unknowns.
A L A N L EO P L E T I N A , U P I 2 M D . O . O .

P O P R E N I P R E SJ E K I UZ D U N I P R E SJ E K /
C RO S S S EC T I O N A N D LO N G I T U D I N A L S EC T I O N

Popis podizvoditelja
List of subcontractors

Adde Podne Obloge d.o.o.

Karaika 22A, 10000 Zagreb
dzagorac@armstrong.com

Eccos d.o.o.
I Pile 21, 10000 Zagreb
dejan.cakija@eccos.com.hr

ALU KON d.o.o.

Goriica, Paukoveka cesta 23, 10382 D. Zelina
komercijala@alu-kon.hr

Eheim Moebel Gmbh

Friedrichsruher Str. 21, Ohringen, Deutschland
klaus.frey@eheim-moebel.de

Aluferit graenje d.o.o.

Petra Preradovia 111, Pitomaa
aluferit@aluferit-gradjenje.hr

Elan
Begunje 1, 4275 Begunje na Gorenjskem, Slovenija
miha.ster@elan.si

AS interijeri d.o.o.
Kladuka 3, 10000 Zagreb

Electrolux d.o.o.
Slavonska Avenija 3, 10000 Zagreb
tamara.rakovac@electrolux.hr

Basal d.o.o.
Prisavlje 12, 10000 Zagreb
basal@zg.t-com.hr
Bili i Eri d.o.o.
Lj. Posavskog bb, 10360 Sesvete
bilic-eric@bilic-eric.hr
Brodarski institut
Av. V. Holjevca 20, 10000 Zagreb
vladimir.koroman@hrbi.hr
Carin d.o.o
Orekovieva 1A, 10000 Zagreb
info@carin.hr
Cavarpayer d.o.o.
Breenskoga 9, 10000 Zagreb
ira@cavarpayer.com
Contura d.o.o.
Kralja Zvonimira 35, 34310 Pleternica
contura@contura.hr
Cro-basket d.o.o.
Ilica 28, 10000 Zagreb
crobasket@crobasket.hr
Dajak-mont d.o.o.
1. gajniki vidikovac 10, 10000 Zagreb
Damgrad d.o.o.
Buanova 10A, 10000 Zagreb
damgrad-sd@zg.t-com.hr
Dechatlon
3 Timarchou Str, 11634 Atena, Grka
dechatlon@dechatlon.gr
Diringer&Schiedel d.o.o.
Ivana Zajca 8, 47000 Karlovac
Dulex d.o.o.
Frankopanska 81, 42230 Ludbreg
info@dulex.hr
ani Keramika d.o.o.
III Ravnice 10, 10000 Zagreb

150

Elektrometal d.d.
Ferde Rusana 21, 43000 Bjelovar
prodaja@elektrometal.hr
Elektro-Vrata d.o.o.
J.J. Srossmayera 153, 31000 Osijek
Elkom d.o.o.
Ivaneko naselje 1D, 42240 Ivanec
habek@elkom.hr
Ellabo d.o.o.
Kamenarka 24, 10010 Zagreb
ivica.zigulic@ellabo.hr
ENEL d.o.o.
Petrova 15, 10000 Zagreb
v.kovacevic@enel.com.hr
Enikon d.d.
Veslaka 2, 10000 Zagreb
luka.andrijanic@enikon.t-com.hr
Eurokran d.o.o.
Ventilatorska 9, 10250 Zagreb
eurokran@zg.htnet.hr
Euromax d.o.o.
Radnika cesta 27, 10000 Zagreb
FARBO INTERIJERI d.o.o.
Merlinov put 4, 10090 Zagreb
farbo.interijeri@zg.t-com.hr
Fero-Term d.o.o.
Bani 73B, Buzin
zeljko@fero-term.hr

Geodetika d.o.o.
Z. Furtingera 1, 10000 Zagreb
Geo-Ing d.o.o.
Pukarieva 77A, 10250 Zagreb
petar.plahutar@geoing.hr
Geokon Zagreb d.o.o.
Starotrnjanska 16A, 10000 Zagreb
geokon-zagreb@geokonzg.com
Grasa d.o.o.
Kalinovica 3, 10000 Zagreb
grasa@grasa.hr
Grgamont d.o.o.
Sunekova 186, 10000 Zagreb
grgamont@zg.t-com.hr
GT Graenje Polet d.o.o.
Livadarska 18A, 10340 Vrbovec
HEP d.d.
Ulica grada Vukovara 37, 1000 Zagreb
Hunter Douglas
Pierkstraat, 3071 Rotterdam, Netherlands
s.kapetanovic@hunterdouglas.hr
Intel Trade d.o.o.
Dr. A Mandia 9, 51410 Opatija
zg@intel-trade.hr

Lumenart d.o.o.
Veruda 60B, 52100 Pula
skira@lumenart.hr

Pavuin d.o.o.
Cvetkovi 95A, 10450 Jastrebarsko
vladimir.pavusin@pavusin.hr

Tehnozavod Marui d.o.o.

XIII Podbreje 26, 10000 Zagreb
kresimir.marusic@tehnozavod.hr

Maestral GP d.o.o.
Pod brezom odvojak 14, Vrhovak, 10430 Samobor
info@maestral-gp.hr

Podosjaj d.o.o.
Ventilatorska 9, 10250 Zagreb
podo.sjaj@kc.t-com.hr

TL-Tome Lui d.o.o.

Dr. Stanka Pinjuha bb, 49214 Veliko Trgovie
info@tl-tome-lucic.hr

MD & V d.o.o.
Okrugli vrh 50A, 40311 Lopatinec
mdv@ck.t-com.hr

Podovi d.o.o.
Trondheimska 4D, 21000 Split

M Profil Zabok
Prilaz dr. Franje Tumana 11, 49210 Zabok
m-profil@m-profil.hr
Mdprofil INTRA d.o.o.
Industrijska zona bb, 31400 akovo
mknapic@mdprofil.hr
METAL PROJEKT d.o.o.
Grada Mainza 24, 10000 Zagreb
Metalind d.o.o.
Slavonska cesta bb, 43000 Bjelovar
metalind@bj.htnet.hr
Metalmania d.o.o.
Nazorova 23, 10434 Oreje
info@metalmania.hr

Interijer d.o.o.
Rakovac 39, 47000 Karlovac
interijeri.franusic@ka.t-com.hr

MILJAK GRAENJE d.o.o.

Vukovarska 178, 21000 Split
miljak-gradjenje@st.hinet.hr

Invento Pro d.o.o.

Av. Marina Dria 81B, 10000 Zagreb
rina@invento-pro.hr

MM-Plan d.o.o.
Dunjevac 1, 10000 Zagreb

IPRO Inenjering d.o.o.

Trg Vladka Maeka 6, 10000 Zagreb
ipro@ipro.hr
Johnson Controls d.o.o.
Andrije aje 10, 10000 Zagreb
dominik.jakus@jci.com
Jurcon projekt d.o.o.
Gotaloveka 4A, 10000 Zagreb
jurcon.projekt@inet.hr

MST d.o.o.
Brae Radia 11, 10452 Donja Zdenina
petar@mst-intersped.hr
NOVA FORMA d.o.o.
Selska cesta 72, 10000 Zagreb
nova-forma@zg.t-com.hr
OPIK d.o.o.
Antuna Mihanovia 3, 10340 Vrbovec
zeljko.pracaic@opik.hr

Fugaplast d.o.o.
A. enoe bb, Gola 48331

Klanji d.o.o.
Obrtnika 1, 10431 Sveta Nedelja
kresimir1@klanjcic.hr

Palmir d.o.o.
S. Koutia 6, 10000 Zagreb
palmir@palmir.hr

Funda d.o.o.
Bana Josipa Jelaia 45, 10290 Zaprei
info@funda.hr

Klimaoprema d.o.o.
Gradna 78A, 10430 Samobor
gvuksan@klimaoprema.hr

Pastor Inenjering d.d.

Novaka 2, 10437 Rakitje
hrvoje.lovko@pastor-group.com

Gamont d.o.o.
Primorska 8, 10000 Zagreb
gamont@zg.t-com.hr

Lift Modus d.o.o.

Joze Martinovia 7, 10000 Zagreb
info@liftmodus.hr

Pavii interijeri d.o.o.

Rumarinka 21, 10000 Zagreb
pavicic@pavicic-interijeri.hr

Polyester univerzal
Predoveka 11, 10000 Zagreb
info@brajdic-polyester.com
Primakon d.o.o.
Tratinska 1, 10000 Zagreb
db@primakon.com
Proklima d.o.o
Talani 14, 10000 Zagreb
proklima@proklima.hr
Radio Moto d.o.o.
Zvonimirova 122, 10000 Zagreb
radio.moto@radio-moto.hr
Robbins
4777 Eastern Avenue, Cincinnati, Ohio 45226 USA
jvargas@robbinsfloor.com
Roman d.o.o.
Smodekova 12A, 10000 Zgreb
rozman@zg.htnet.hr
Senoh Corp.
2-2-13 Minami Shigahawa, Tokyo, Japan
Signalinea d.o.o.
Pul Vele Crikve 1, 51000 Rijeka
signalinea@ri.t-com.hr
Sim-gradnja d.o.o.
Velimira korpika 3B, 10000 Zagreb
ravagao@resinex.t-com.hr
Soboli d.o.o.
Budmanijeva 5/3, 10000 Zagreb
soboli@soboli.hr
Siteco Sistemi d.o.o.
Trg Draena Petrovia 3/17, 10000 Zagreb
r.sadaic@siteco.hr

Top-glazure d.o.o.
II Plemiko 22, 10000 Zagreb
TTI d.o.o.
Kralja Kreimira 4B, 10430 Samobor
d.safarik@tti-zagreb.hr
UPI 2M d.o.o.
Krajika 10, 10000 Zagreb
tamara@upi-2m.hr
V.D. GRAENJE d.o.o.
Gradika ulica 20, 10000 Zagreb
marina.vujic@vd-gradjenje.hr
Vanguardia Consulting
21 Station Road West, Oxted, Surrey, Rh8, England
office@vanguardiaconsulting.co.uk
Veronica d.o.o.
Martieva 23, 10000 Zagreb
veronica@veronica.hr
Viessmann d.o.o.
Luje Naletilia 29, 10000 Zagreb
tuv@viessmann.com
Wagner Biro Austria
Stadlauerstrasse 54, Wiena, Ostereich
harald.poeschel@waagner-biro.com
Zakladani staveb d.o.o.
II Cvjetno naselje 19, 10000 Zagreb
Zatitni sustavi Zagreb d.o.o.
Heinzlova 53A, 10000 Zagreb
zlatko.videc@email.t-com.hr
Zavod za elektroakustiku, Fakultet elektrotehnike
i raunarstva Sveuilita u Zagrebu
Unska 3, 10000 Zagreb
zea@fer.hr

STS Metal d.o.o.

Samoborska cesta 203, 10090 Zagreb
strojoservis@strojoservis.hr
Supervizija d.o.o.
Rapska 37, 10000 Zagreb
Tehnoguma d.o.o.
CMP Savica anci, Obrtnika 1, 10000 Zagreb
tgstil@tehnoguma-zg.hr

151

Arena Zagreb
The Zagreb Arena

Nakladnik / Publisher
I N G RA D . D .

Alexandera von Humboldta 4b, Zagreb, Hrvatska / Croatia

Copyright
I N G RA D . D .

Za izdavaa / For the publisher

IGOR OPPENHEIM

Glavni urednik / Editor

M A ROJ E M R D U L JA

Urednitvo / Editorial board

VESNA LEDI-OPPENHEIM
M A ROJ E M R D U L JA
I RA PAY E R
DA N KO D E BA N

Fotografije / Photography
JA S E N KO RA S O L (osim str. / except page numbers 6, 20-25)
I N G RA D . D . (str. / page numbers 22-25)
ST U D I O H RG (str. / page numbers 6, 20, 21)
Dizajn / Design
I RA PAY E R , T I N A I V E Z I

Suradnica urednika / Assistant editor

M A RTA K I

Lektura i korektura hrvatskih tekstova /

Lecture and proofreading of Croatian texts
M A JA T R I N A J ST I

Prijevod na engleski / English translation

G RA H A M M C M A ST E R
DAVO R J U R I I

Lektura i korektura engleskih tekstova /

Language editing and proofreading of English texts
N I C K SAY W E L L

Obrada fotografija / Colour editing

P U N K T ST U D I O D . O . O .

Tisak / Printed by
P R I N T E RA G R U PA D . O . O .

Naklada / Print run

2000

Zagreb, 2008.
CIP zapis dostupan u raunalnom katalogu Nacionalne
i sveuiline knjinice u Zagrebu pod brojem 688299 /
A catalogue record for this book is available from the National and
University Library in Zagreb
ISBN 978-953-55532-0-5