You are on page 1of 77

Arena Zagreb The Zagreb Arena

Ingra d.d., Zagreb, 2008.

M A ROJ E M R D U L JA Š

M A ROJ E M R D U L JA Š

Arena Zagreb, od stvaranja prema budućnosti…
Svaka zgrada ima tri životna ciklusa koja su povezana u jedan vremenski kontinuiran tijek, ali su također i međusobno jasno odijeljena i imaju sasvim različite karaktere. Prvi životni ciklus građevine odnosi se na inicijativu njenog zasnivanja. On se u potpunosti odvija u sferi ideje i apstrakcije, u razmišljanjima kreatora projekta: investitora i projektanata. Jednom, kada je projekt u cijelosti završen, predaje se ​ u ruke graditelja čime započinje njezin drugi životni ciklus u kojem koncept poprima fizički oblik, a ideja se transformira u gradbeno tijelo. I u ciklusu projektiranja i u ciklusu gradnje počinje se od tabule rase – praznoga bijelog papira i tla parcele na kojoj zgrada treba niknuti. I investitori, i projektanti i izvođači dobro poznaju taj osjećaj uzbuđenja jer se u svakom projektu upuštaju u nepoznato, ma koliko im postupci i procesi nastanka zgrade bili već od ranije poznati. Tako je svaki projekt priča za sebe jer svaka građevina ima svoj vlastiti, jedinstveni život, svoju posebnost i naposljetku identitet. Jednom kada je zgrada završena, ona ulazi u svoj treći životni ciklus u kojem dobiva svoj puni smisao. Time završavaju dva formativna perioda zgrade i započinje dugotrajni period zrelosti, sudjelovanja u životu grada i društvene zajednice. No, njena pred-povijest često ostaje skrivena, a njena egzistencija samorazumljiva, kao da je postojanje neke zgrade činjenica dana sama po sebi. Ponekad ostaje zapamćeno ime arhitekta, ponekad naručitelja, no za korisnike proces njenog nastanka uglavnom ima malo ili nikakvo značenje, a brojni napori uključeni u njenu izvedbu ostaju zaboravljeni. Arena Zagreb poduhvat je velikih razmjera i velikog mjerila, javna građevina kakva u Zagrebu i Hrvatskoj nije sagrađena desetljećima. Njen formativni period, koji još traje dok se pišu ovi redci, u određenoj se mjeri odvija pred očima javnosti i medija, no malo tko, osim neposrednih sudionika uključenih u njenu gradnju, ima jasan i cjelovit uvid u uzbudljivost, složenost, ozbiljnost i dramatičnost njenog uobličavanja i materijalizacije, kao što se premalo zna o entuzijazmu i posvećenosti zadatku svih onih koji skrbe za njenu budućnost prije nego što se preda na korištenje građanima Zagreba i Hrvatske. Monografija o Areni Zagreb jest svojevrsni memento, pripovijest ​ o suživotu zgrade u nastanku i svih onih koji su za taj nastanak zaslužni. Ona je također i pokušaj da se dokumentira i javnosti približi rad i suradnja mnogih struka uključenih u proces građenja, i to putem govora u prvom licu jednine te svjedočanstva samih protagonista iz projektnih ureda, s gradilišta i iz radionica, dakle ljudi čija lica i imena inače uglavnom nisu eksponirana. Na neki način, ova monografija nije samo priča o Areni Zagreb, nego i o građenju, arhitekturi i srodnim disciplinama općenito, ispričana iz unutarnje perspektive. Arena Zagreb i njeni stvaratelji zaslužuju takav memento iz mnogih razloga. Gotovo da i nije potrebno isticati važnost takve građevine za grad Zagreb, Hrvatsku, pa i regiju s obzirom na njen veliki kapacitet, višenamjensku funkciju i tehničku opremljenost. Mnoga događanja koja su do sada zaobilazila Zagreb, poput koncerata vrhunskih
4

The Zagreb Arena, from Creation to Future…
glazbenika ili velikih sportskih događanja napokon su dobila pri­ kladni prostorni okvir. Za njen je nastanak posebno važna koncepcija javno­ -privatnog partnerstva, modela koji je u svijetu jedan od glavnih pokretača 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 partner­ stvo naročito uspješan model financiranja ključnih urbanih intervencija. Nadalje, graditeljsko rješenje Arene Zagreb je jedinstveni hrvatski proizvod, rezultat ovdašnjeg znanja i kreativnosti te operativnosti i profesionalnosti građevinske industrije. Također, sinergijski odnos svih sudionika u osmišljavanju i gradnji Arene omogućio je da se u izuzetno kratkom roku osmisli i izvede građevina na temelju dostizanja maksimalnog rezultata iz postojećih resursa, da se kombinatoričkim razmišljanjem o dostupnim graditeljskim sredstvima i rješenjima postigne gotovo nemoguće. U tom smislu, Arena Zagreb je proizvod koji je po uspješnom i realis­ tičnom povezivanju kreativnosti i „operative” uzoran na općem planu hrvatskog društva te može biti konceptualan model i za druga područja industrije i drugih djelatnosti. Svakako, u knjizi je teško sasvim vjerodostojno predočiti kompleksnost i opseg projekta, dinamičnost gradilišta i sva zbivanja koja obilježavaju nastanak ove građevine. Izostaje osjećaj fascinacije mjerilom zahvata na samom gradilištu, nije moguće reproducirati vibracije i zaglušujuću buku strojeva, vrevu stotina radnika, prenijeti vrtoglavicu koju izaziva visina na kojoj se odvijaju pojedini radovi. No, moguće je ta iskustva posredovati u knjišku formu brižljivim pristupom temi: mjesecima snimati tisuće fotografija, voditi razgovore s brojnim zanim­ ljivim sugovornicima različitih struka, stvoriti dramaturgiju unutar samog medija knjige i sklopiti mozaik kojim se nastoji opisati što to znači projektirati i graditi. Zahvaljujući takvom mozaiku, formativni period života Arene Zagreb ostaje trajno zabilježen i opisan, a protagonisti njenog nastanka govore o vlastitim iskustvima i doživljajima iz perspektive konačnog cilja – prepuštanja Arene Zagreb njenom zrelom, samostalnom životu. Kao i sama građevina, i ova monografija je zajednički 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. Želja je svih koji su sudjelovali u ovom projektu da Arena Zagreb zaživi kao jedan od ključnih javnih gradskih projekta, a nadamo se da je knjiga barem donekle uspjela zabilježiti brojne napore koji su poduzeti da se ta želja 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 i ​n 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 city’s 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

Na tim pretpostavkama Vlada će i dalje pridonositi stvaranju potrebnih uvjeta za razvoj svih potencijala Hrvatske i njenih građana. the eyes of the whole world will be directed to it. S obzirom na to da je izgrađena u isto vrijeme kad i dvorane u Splitu. With its architectural beauty. Let the Zagreb Arena be a lasting symbol of such success! The Zagreb Arena is already telling us this. koji je postao novi vizualni znak sportskog života našega glavnog grada. Arena svjedoči o znanju i poduzetnosti naših ljudi. space and the people who created their history in the area. O tom uspjehu svjedoči zagrebačka Arena. when its stands become a meeting point for supporters from all continents during the World Handball Championship. Osijeku. The Arena is also a witness to the knowledge and entrepreneurship of our people. Since it was constructed at the same time as sports halls in Split. seems to remind us of our past achievements. Svjedoči o naprednoj zemlji s modernom infrastrukturom. in contemporary and sovereign Croatia. Varaždin and Poreč. prostoru i narodu koji je na tom prostoru stvarao svoju povijest. on this basis. Neka te tribine ostanu zauvijek mjesto susreta i prijateljstva. ona također svjedoči o ravnomjernom razvoju svih hrvatskih krajeva. The Zagreb Arena is a witness to such successes. the new Zagreb Arena is a witness to Croatian reality in the 21st century. predsjednik Vlade Republike Hrvatske From the city walls of Dubrovnik to the fortress in Osijek. Arena svjedoči i o našoj sposobnosti za stvaranje novih vrijednosti. te snažnog i zdravog bodrenja. A gaze upon the Arena from Zagreb’s Jarun lake. Zadar. The Arena is also a witness to our capability of constructing new values. Neka Arena Zagreb bude trajni simbol takvog uspjeha! Arena Zagreb već sad nas na to upućuje. nego i gospodarstva i cjelokupnog društva. and this not merely regarding sporting successes. Pogled na Arenu sa zagrebačkog Jaruna. Gledajući prema Zapadu. Dr. thereby showing the path for development through innovation and excellence. s ciljem daljnjeg razvoja ne samo hrvatskog sporta. iz koje izvire snaga i motivacija za buduće uspjehe. Arena je ujedno i simbol otvorenosti naše zemlje prema cijelom svijetu. Dr Ivo Sanader. the Government of the Republic of Croatia gave support to the construction of the Zagreb Arena and other modern sports halls throughout the country. and vigorous and healthy support. I doista će oči cijeloga svijeta biti uperene u nju. Zadru. tijekom Svjetskog rukometnog prvenstva. nova zagrebačka Arena svjedoči o hrvatskoj zbilji u XXI. kada se na njezinim tribinama. od šibenske katedrale do znamenitog krova crkve svetoga Marka. Based on these assumptions. with the aim of further developing not only Croatian sport. it is a witness to the even development of all Croatian regions as well. Osijek. Na tim je pretpostavkama Vlada Republike Hrvatske podržala izgradnju Arene Zagreb i ostalih suvremenih sportskih dvorana diljem zemlje. And indeed. Facing the West. The Government will continue to contribute. from which strength and motivation for future successes stem. u Zagreb i Hrvatsku. Svojom arhitektonskom ljepotom Arena je promijenila izgled jednom od glavnih ulaza u grad i time pokazala put razvoja kroz inovaciju i izvrsnost. to Zagreb and Croatia. but also the economy and society generally. Tako i u suvremenoj i suverenoj Hrvatskoj. kao da nas podsjeća na postignuća iz prošlosti. susretnu navijači sa svih kontinenata. which became a new visual symbol of the sports lifestyle of our capital. stoljeću. from the cathedral in Šibenik to the famous tiled roof of St Mark’s. Ivo Sanader. Similarly. Let these stands forever remain a place for meetings and friendships. Varaždinu i Poreču. the Arena has managed to change the appearance of one of the principal entrances to the city. i to ne samo o onom sportskom. Prime Minister of the Republic of Croatia 7 . to the creation of the necessary conditions for developing the whole potential of Croatia and its citizens. the Arena is also a symbol of our country’s openness to the whole world.Stvaranje novih vrijednosti Osvrt predsjednika Vlade Republike Constructing New Values A Remark from the Prime Minister of the Republic of Croatia Od dubrovačkih zidina do osječke Tvrđe. It is a witness to an advanced country with modern infrastructure. arhitektura je uvijek svjedo­ čila o vremenu. architecture has always been a witness to the time.

and.000 in 503 days. primjene tehnologija ili samog načina građenja. We wanted to make a unique multi-functional building in Zagreb that would. but none was as limited by deadlines. bolnice. Hidrocentrale. ali imaju i duži vremenski rok za realizaciju. Ingra has successfully conducted business for more than half a century in over thirty countries throughout the world. Our goal was not to construct just a sports hall that seats 15. I N G RA D . on the other. a s druge strane postati jedan od prepoznatljivih gradskih simbola svojom jedinstvenom arhitekturom i dizajnom. Željeli smo u Zagrebu sagraditi jedinstvenu multifunkcionalnu građevinu koja će s jedne strane doprinijeti kvaliteti života građana kulturnim. Many of the projects executed so far were larger and more complex than the Zagreb Arena. I G O R O P P E N H E I M . hospitals. . application of technology or construction itself. industrijski pogoni i slični objekti traže veći angažman u smislu stručnih znanja. sporting and other events. Mnogi od osam stotina dosad izvedenih projekata bili su veći i složeniji od Arene Zagreb. no niti jedan nije bio toliko ograničen rokovima.Iza Ingre stoji više od pola stoljeća uspješnog poslovanja u preko trideset zemalja svijeta. on the one hand. predsjednik Uprave / Chairman of the Board. Naš cilj nije bio u 503 dana sagraditi običnu sportsku dvoranu s kapacitetom od 15 000 mjesta. glavni izvođač / principal contractor . industrial plants and similar facilities require more engagement in terms of knowledge. contribute to citizens’ quality of life through cultural. sportskim i raznim ​ drugim događajima. D . Hydro power plants. but also entail longer deadlines for realisation. become one of the city’s recognisable symbols with its unique architecture and design.

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. and our criteria of excellence. kulturna. uz uvjet da poštuje zakone i gradske odluke. Because of the Arena. It’s the task of the city authorities to use the budget to build up the city’s public infrastructure and the many public-use buildings. zabavna i gospodarska događanja. cultural. za organizaciju kongresa. priredbi. Privatni kapital u Zagrebu uživa dobrodošlicu. Zadaća je Grada da proračunom gradi javnu gradsku infrastrukturu i brojne građevine javne namjene. Grad u konačnici brine za svakodnevno funkcioniranje grada. M I L A N BA N D I Ć . Zagreb izlazi na svjetsku scenu konkurencije za velika svjetska sportska. the historical areas.Iluzija je da razvoj Zagreba može biti financiran iz proračuna. for the organisation of conferences and functions. povijesne prostore i naše kriterije izvrsnosti. gradonačelnik Grada Zagreba / Mayor of Zagreb . on condition that it respects the law and the city’s decisions. It’s an illusion that the development of Zagreb can be funded from the city budget. Zagreb is entering the world scene of competition for great sporting. ali i da financira i pomaže kulturnu i svaku drugu izvrsnost. in short for happenings that will give our city a new identity. ukratko događaja koji daju novi identitet našemu gradu. Posredstvom Arene. entertainment and business events. Private capital is very welcome in Zagreb.

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

O . U P I – 2 M D . here we have an envelope with a clear form that is not founded in any symbolism. We wanted to create a strong and clear element in space. in the form of a shell.Jasno je da građevine velikih raspona automatski uključuju konstrukciju kao važan element koncipiranja projekta. N E N A D B O RG U DA N . which reduces the span and to a degree covers the area. arhitektonski projekt i projekt konstrukcije / architectural project and project of construction . Literally. The structure is closed inwards. B E R I S L AV M E D I Ć A L A N L EO P L E ŠT I N A . Doslovno. O . TA M A RA STA N T I Ć­ – B RČ I Ć . Naturally buildings with great spans automatically include the construction as a vital element in the conception of the design. . nego slijedi konstruktivnu logiku. Konstrukcija se zatvara prema unutra u obliku školjke. B E R I S L AV M E D I Ć . riječ je o opni s jasnom formom koja se ne temelji u simbolici. čist element u prostoru. but rather follows structural logic. čime se smanjuje raspon i djelomično natkriva prostor. Htjeli smo postići snažan.

druženja i korištenja pulsirati u skladu s Arenom. – 1955. prosvjetnim i sličnim sadržajima. koji posljednjih godina doživljava nevjerojatnu ekspanziju. A on nije lak. kao i činjenica da će svako od tih stranama zgrade niži i pridržavaju krovnu konstrukciju tvoreći događanja zgradu učiniti „živim”. konferen­ se u gornjoj zoni pretvaraju u slobodne volumene. Lijevani tik uz mjesto izgradnje.) izgrađen je na mjestu gdje je bilo moguće ostvariti idealnu „gradotvornu arhitekturu”. Rebra na sjecištu raznovrsnih interesa. Piteša. Odabrani detalji povijesti izgradnje sportskih objekata. po čistoći konstrukcije i plastičkoj izražajnosti bez presedana u našoj poslijeratnoj arhitekturi” 16 – izvedene na Dinamovu stadionu (Turina. Tradicionalni nedostatak sportskih terena anuliran je izgradnjom pojedinih objekata. moćnog ritma. a vanjsko oblikovanje je građana. Na taj način složen i primarno funkcionalan unutrašnji organizam „odterećen” je konstrukcijom koja djeluje lagano i prozračno.tezu Milana Preloga o rastu grada na principu gomilanja „zona” u stveno su morali zadovoljiti brojne uvjete koji pretpostavljaju funk. aktivnije perspektive. Građevine od simboličkog značenja za gradsku strukturu – muzeji. kulturna. daje nam za pravo naslustava. Pritom se već mnogo puta spomenuta konstrukcija pokazala kao dobra strategija. koji je već proglašen oblaganje površina materijalima zadovoljavajućih akustičnih svojnovim zagrebačkim gradskim obilježjem. koji danas uglavnom više ne zadovoljavaju standarde niti su u mogućnosti služiti raznovrsnim sadržajima. svojevrsna ekscesa kojim projektanti pokazuju svoju vještinu i slobodu stvaranja nečega što nije tipično. no spomenimo kako obližnji Jarun pripada među najbolja hortikulturna rješenja usklađena sa sportskim sadržajima koji se odvijaju na jezeru. od kojih poneki zavrjeđuju pozornost. Alan Leo Pleština. ubrzo smo bili u prilici uvjeriti se kako je riječ o osobitu spoju građevinskih strategija i oblikovanja. no unatoč tom pozitivnom iskustvu vremena služiti sportskim događanjima. kazališta. Tri pješačka mosta koja građevinu povezuju vladaju u unutrašnjosti. Zahvaljujući ritmu izgradnje.). Sposobnost prilagodbe. a korištenje krajnje jednostavne i svima razumljive signalizacije te ljepota stvorenoga nesvakidašnjeg oblika. Arena je lišena simbolike i asocijacija koje bismo možda mogli očekivati. nego su najčešće tek ideje na papiru. pozicionira. Doprinos urbanosti. Osnutak organiziranih sportskih društava nije bio praćen adekvatnom izgradnjom. Vremenom smo se osvjedočili kako je kulturalno-urbani model zasnovan u poslijeratnu razdoblju. ovisna o odluci o vrstama i broju sportova kojima je borilište namijenjeno. pa gotovo svakodnevno svjedočimo rezultatima nove urbane strategije Zagreba. Ikoničnost i konstruktivnost. osim vrstom sporta. „napetu” petu fasadu čija čelična užad ispisuje projektio artikulaciji jednoga dijela grada koji će zasigurno postaviti nove ranu. geometriju odnosa koji kriterije vrednovanja. kao sadržajima – još nisu postale dio kolektivnoga urbanog identii o predviđanju težine opreme koju svaki bolji rock&roll sastav teta. Fleksibilnost gledališta. gledateljima doduše nevidljivu. to je vizura u kojoj su očuvani stoljetni tragovi urbaniteta. Funkcionalna zadatost unutarnjeg prostora. pravilan ritam skladno zaokružuje povijesni gradski okvir. „trajna privremenost” sintagma je koja ilustrira prevladavajuće standarde koje još uvijek nije moguće klasificirati. Urbana morfologija koju baštinimo iz toga doba počiva na omjeru stanogradnje i nužnih sadržaja potrebnih da bi naselja mogla funkcionirati (dječji vrtići. druženja na otvorenom prostoru. seci autori arhitektonskoga projekta iz UPI– 2M često su isticali mogućnosti arhitekture koja izvire iz konstruktivne koncepcije. u urbanistički još uvijek neartikuliranom okruženju zapadnog pristupa gradu koji će.SA N D RA K R I Ž I Ć RO B A N Arena Zagreb – novo gradsko obilježje Slika koja se pruža kad Zagrebu pristupamo s juga jedinstvena je. Stanogradnja je proteklih desetljeća odredila razvoj i urbanost Zagreba. Širi urbani kontekst maksimirskog primjera te Arene i Laništa nezahvalno je uspoređivati. biti zaključen s nekoliko visokogradnji te nizom stambenih objekata uza savsku obalu. sportske dvorane. Nenad Borgudan i Tamara Stantić-Brčić iz UPI– 2M prven. odnosno u računalu. ambasade. preko crkvenog i svjetovnog brežuljka – Gradeca i Kaptola. što su sve uvjeti unutar kojih je kreativno umijeće artikulatiti kako će ovaj sportski objekt postati jedan od važnih nositelja cije prostora svedeno na minimum – vanjština se doživljava poput identiteta grada. koncertna. zona kontakta gdje će ritam zahtjeve fleksibilnosti borilišta – smještaj izvlačnih tribina prilagođenih trenutačnom sportskom/koncertnom događaju. primjeru konstrukcijsko-inženjerske arhitekture gdje se forma izravno veže uza strukturu. koji uvjetuju interijer Arene. 86 nosača raznih visina (od 28 do 37 m) tvore dinamično ritmiziranu ovojnicu čija se organičnost na koncepcijskoj razini može dovesti u vezu sa sportskim događanjima. povezanost dvaju lokaliteta spletom pješačkih staza pridonijet ​ će istraživanju i korištenju grada iz drukčije. Ako zavirimo u povijest izgradnje kako bismo pronašli primjere koji humanim principom pripomažu određivanju specifičnosti zagrebačke arhitekture. postaju prostran javni prostor. mnoge nove gradske četvrti zapravo potvrđuju davno iznesenu Autori arhitektonskoga projekta Berislav Medić. Povijesno zagrebačko središte odavno nije u stanju zadovoljiti promijenjene interese i navike cionalno i rentabilno korištenje Arene. kakvima je djelomično namijenjena i novosagrađena zgrada Arene. uvjetovana je i činjenicom da će Arena tek 30 posto svoga – 1986. 1985. sudeći prema master-planovima. a rubni smještaj tih sadržaja – onda kao i danas – može se do neke mjere dovesti u vezu s perifernim položajima zemljišta. nog za „spontane društvenosti”. što također ima veze sa sadržajima kojima je građevina namijenjena. koji unatoč nedostatcima urbaniziranih područja traže ono u čemu su mogli pokazati svoje umijeće. definirana uvjetima koji vladaju u današnjem tranzicijskom društvu. koja konceptualno ističe značaj pojedinog elementa i njegove važnosti u funkcioniranju cjeline. no ni tada ni danas ta grana arhitekture nije rezultirala građevinama koje bismo mogli prozvati gradskim obilježjima. čime su javni prostor i ljepota Maksimira postali dijelom sportskoga kompleksa. rano obuhvatili prednapregnutim betonskim rebrima. brzog rješenja problema. Iskoristivost Arene za sportska. od prvih definiranih izgradnji na obroncima Sljemena. nosači su element u kojem se sjedinjuju ekspresivnost oblika i funkcionalnost konstrukcije. spomenimo stadion u Maksimiru. Izgradnja sportskih objekata u Zagrebu od druge polovice 19. Arena se isprva činila poput skulp­ ture na livadi. sve do podgrađa i njegove uređene blokovske izgradnje čiji umirujući. Gledana kao znak. gradsko obilježje – ikonički oblik koji na zapadnom ulazu u grad najavljuje izvjestan odmak od urbane sheme unutar koje je izgrađen. Premošćivanjem Save započelo je širenje grada. Pišući o Areni. zabavi. osvijetljeni sa stražnje strane.kojima se samo stanuje ili samo radi. škole. bijela konstrukcija izdržala teret koji joj je namijenjen. današnje tranzicijsko razdoblje postavilo je nove kriterije. Njezina kratkotrajna povijest je burna. kultiviranja ambijenta namijenjenog sportu. osvijetljenim organizmom. stoljeća pa sve do danas pokazuje određene sličnosti. 1946. govori osobitu. sajamskim i konferencijskim sadržajima – sve to i još mnogo toga bilo je potrebno zadovoljiti da bi ta osobita. ​ a zahvaljujući rastvorenosti ulazne zone i osvijetljenosti središnjeg dijela omogućena je komunikacija zgrade s okolinom. unatoč tadašnjim političkim i ekonomskim ograničenjima pokazao svoju funkcionalnost i uspješnost. a demokratizacija i liberalizacija uvjeta izgradnje ne vode nužno prema arhitekton­ skoj kulturi kakvu smo iščekivali. koji su na užim cijska i sajamska događanja. Pročelje su kontinuinove mogućnosti osjećanja zajedništva u prostoru i vremenu. ali i općeg stava prema sportu. Neidhardt. središnji dio Situacija na Laništu mogla bi postati primjerom mjesta osmišljekojih povezuju mliječnobijeli paneli. posebice njegovih novih dijelova. Zakrivljena rebra zadržavaju prizmatičan volumen unutar cjeline. neizbježno se prisjećamo zapadne tribine – „betonskog skeleta velikog. Posljednjih mjenje i opremanje komentatorskih i VIP-loža na određenim mjestima. s trgovačkim centrom prekoračujući novu prometnicu unutar Dok unutrašnjost Arene primarno mora zadovoljiti specifične Laništa. mora moći objesiti iznad pozornice. no koja istodobno ovisi o načelno ​ jednostavnim fizikalnim zakonima. Logičnost toga konstruktorskog zadatka omogu­ ćila je prožimanje okoline i stadiona na jedinstven način. uslužni centri). Zagrebačka Arena građevina je od posebnoga značaja. Za razliku od toga. Prva građe­ vina namijenjena sportu u Zagrebu – streljana na Tuškancu – dovodila se u vezu s kulturnim. Šerbetić. tek su dio zadanih parametara Sportsko-poslovni kompleks Cibona (Hržić. zgrade namijenjene političkim i upravnim 17 . Erlich.

The ribs turn into free volumes in the upper zone. regular rhythm of which harmoniously encircles the historical city core. it is a vista in which traces of urbanism hundreds of years old Dinamo’s stadium (Turina. 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. a landmark peripheral positions of land plots. 1946-55). sports halls. will make it a lighted organism. nor are they able to serve different purposes. tribute to the exploration and utilization of the city from a different. The curved ribs contain Selected Details of the History of Sports Facilities Construction. but let us add that nearby Jarun is among the best horticultural and there has been unbelievable growth in recent years. be completed by several high rises and a line of housing blocks by the banks of the Sava. conference and fair events. gives us the right to guess this sports facility will become one of the pivotal points of the city’s identity. while the peripheral placement ​ sion of forms and the functionality of construction. The authors of the architectural design from UPI–2M have often emphasized in recent months the possibilities of architecture which stems from constructive concepts. at the intersection of different interests. an example of construction still do not necessarily lead to the architectural culture ​ construction-engineering architecture where form is directly connected we yearned for. The Cibona sports and business centre (Hržić. but this branch of architecture has not. through the ecclesiastical and secular hilltops – in a unique manner. Objects of symbolic significance for the city structure – museums. “tense” fifth facade. become a spacious public area. The first nicates with the environment. defined by the conditions ruling with standards. the use of utterly simple signalization understood by all. Berislav Medić. The situation in Lanište could become an example of a venue conceived for “spontaneous socialization”. neither back then nor today. educational and similar facilities. while the beauty of created unusual form. the steel cables of which delineate the designed geometry of relationships dominating the interior. the connecwitness on an almost daily basis the results of Zagreb’s new urban tion between these two locations. By bridging the Sava. which today mostly fail to comply city. a prism-like volume within the whole. concert. while the outer form is where they were able to display their skill. at the western entrance to the construction of individual objects. Cast just lishment of organized sports associations was not supported by adeby the construction site. we were soon able to convince ourselves that this is a fication. the transitional society of today. and that of the Arena and Lanište will not be compared. from UPI–2M. but remain paper or computer ideas in most cases. the transitional period of today established new criteria. to structure. many new city neighbourhoods actually prove the thesis launched long ago by Milan Prelog. powerful rhythm. schools. Nenad Borgudan and Tamara Stantić-Brčić. buildings dedicated to political and administrative purposes – have still not become part of the collective urban identity. Alan Leo Pleština. situated in the western city limits that will. theatres.SA N D RA K R I Ž I Ć 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 construc­ tion and plastic expression” – which was executed at unique. via a network of walkways. the Arena is stripped of the symbol ism and associations we might possibly expect. the position and equipment of commentator booths and VIP boxes. of these objects – both then and now – can be explained by the The Zagreb Arena is a building of special importance. some of which deserve attention. The flexibility of the spectator stands. who despite the deficiencies of urban areas seek new possibilities for expressing togetherness in space and time. used by the designers to exhibit their skill and the liberty to create something atypical. is also conditioned by the fact that Arena will host sporting events only 30 per cent of the time. so that we can solutions adjusted to the sports taking place at this lake. Thanks to the rhythm is a syntagm which illustrates dominant standards still defying classiof construction. the soothing. The ability to adapt. if we are to function (kindergartens. 18 The functional limits of the interior depend on decisions on the types and number of sports the pitch serves. which conceptually highlights the significance of individual elements and their importance in the functioning of the whole. Housing has set the pace for the development and urban planning of Zagreb in recent decades. The primarily functional inner organism conceived was thus “lightened” by its construction that appears light and airy. being shorter on the narrower sides of the building. service centres). 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. will constrategy. but also the general attitude to – an iconic form which announces a certain deviation from the urban sports. In contrast. Which was not light. embassies. the cultivation of an environment dedicated to sport. getting together in the open. the supports are elements unifying the expresquate construction. “permanent transience” judge by the master plans. dered in the post-war years displayed its functionality and success. 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. while the democratization and liberalization of conditions for peculiar amalgam of construction strategies and form. Viewed as a symbol. white construction to stadium in Maksimir. The traditional lack of sports fields has been improved by the scheme within which it was constructed. 19 . The estabsimultaneously depend on simple laws of physics in principle. the organic qualities at Tuškanac – was linked to cultural. 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. Over time we have seen how the cultural and urban mode engenmore active perspective. but despite this positive experience. The already often mentioned construction proved a sound strategy here. within an environment still not articulated in struction and the necessary contents required for neighbourhoods to urban terms. The urban morphology we inherited from that era relies on the ratio between housing con. apart from the type of sport. even though it is invisible to the spectators. but which the newly built Arena is partly intended for as well. the central parts of which are connected by milky white panels illuminated from behind. Its short history has been volatile. primarily had to comply with numerous conditions which presuppose functional and cost-effective use of Arena. fast solutions to If we peek into the history of construction in order to find examproblems. The historic Zagreb downtown area has long been unable to meet the changing interests and habits of its citizens. supporting the roof construction by forming a peculiar. 1985-86) was constructed in a location where it was easy to realize ideal “city‑building architecture”. Piteša. Šerbetić. fair and conference facilities – all this and plenty of other ​ through a humane principle of a sort. Erlich. of which can be linked with sports events on the conceptual plane. 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. a zone for contacts where the rhythm of company and use will pulse in unison with the Arena. A Contribution to Urban Planning. despite the then political and economic obstacles. 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 Arena first seemed like a sculpture on a meadow. let us here mention the football​ criteria had to be met in order for this peculiar. cultural. Neidhardt. regarding the growth of the city using the principles of piling up “zones” where one is only to dwell or only to work. connected to the purposes the building is intended for as well. The facade was continuously framed in reinforced concrete ribs. The wider urban context of the design. just like the fact that each of these events will bring this building to life. resulted in buildings we could dub landmarks. The authors of the architectural design. starting from the initial defined construction on construction task enabled the environment and the stadium to interact the slopes of Sljeme. speak of the articulation of one city part which will surely set new criteria for valuation. ber t ​ he West Stand – “a concrete skeleton of large. the building commusimilarities from the latter half of the 19th century until today. Three footbridges connecting the building to a mall.Icon Qualities and Constructivity. The possibilities of utilizing the Arena for sporting. the city’s expansion began. Writing on the Arena. we cannot but rememwithstand the weight intended. enterples that help us in determining peculiarities of Zagreb architecture tainment. The logic of this have been preserved. by striding over a new street within Lanište. already proclaimed a new Zagreb landmark. Maksimir example. especially of its new parts.

503 TRAJANJE IZGRADNJE ARENE ZAGREB U DANIMA DURATION OF THE CONSTRUCTION OF THE ZAGREB ARENA IN DAYS .

210.000 VOLUMEN ŠIROKOG ISKOPA U KUBIČNIM METRIMA VOLUME OF EARTHWORK IN CUBIC METRES .

500 KOLIČINA ARMATURE U TONAMA QUANTITY OF REINFORCEMENT IN TONS .9.

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 other’s way. DA R KO KO R E T I Ć . od toga se kreće. as well as control of the number of people. Druga premisa na kojoj se sve temelji jest da se više tehnoloških procesa može odvijati istovremeno. nadzor broja ljudi.Moj svakodnevni posao jest koordinacija svih izvođača koji rade na objektu. supervision of the performance of the work. U planiranju građenja uvijek je važno vrijeme i rok. a da jedan drugome ne smetaju. quality of the work. Tehnološki se slijed mora poštivati i on diktira tempo i pojedine radnje. nadzor obavljanja radova i njegove dinamike. and then a lot more people can work simultaneously. That’s a bit more difficult to coordinate. and planning. and that’s the starting point. I N G RA D . To je nešto teže iskoordinirati jer treba puno više pratiti zbivanja na gradilištu kako netko ne bi narušio taj sklad. glavni inženjer gradilišta / chief site engineer. potrebno je puno više strojeva i kranova. My everyday job consists of the coordination of all the contractors working on the structure. . the dynamics. and it dictates the tempo and the individual actions. kvalitete radova i planiranje. The technological sequence has to be respected. pa onda može raditi puno više ljudi. Time and deadlines are always important in the planning of construction. Jasno je da je ovdje sam opseg puno veći. D . many more machines and cranes are required. Clearly the range and scope here are much greater. because one has to keep up with events on site so that no one disturbs the harmony.

539 POVRŠINA PODOVA U KVADRATNIM METRIMA FLOOR SURFACE IN SQUARE METRES .65.

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

O . naročito s kolegama iz tvrtke Tome Lučić. O . H RVOJ E RAG UŽ . we came upon the idea to prefabricate the ribs in a single piece. To je velika razlika i svaka lamela je zahtijevala zaseban pristup. To je bilo podudarno s projektantovom idejom jer je njemu zbog što brže izvedbe trebala učinkovita prefabrikacija lamela. and each concrete rib needed a separate approach. O . a u velikim 12 kablova za prednaprezanje. Rok je bio taj koji je određivao ritam i morali smo vrlo brzo reagirati na svaku novu situaciju.Razmatrajući koncepciju lamela. The deadline was what determined the rhythm and we had to react very fast to each new situation. cables to be prestressed. We decided to produce the ribs in an on-site plant and then raise them and put them into place with a crane. tehnologija proizvodnje i montaže 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 što je izvedba lamela koje su teške i do 220 tona. u razgovorima s ostalim partnerima u procesu gradnje. PA L M I R D . During the work there were certain changes in both the project and the execution. For example. Primjerice. in talks with the other partners in the construction process. prefabrikacija fasadnih lamela / the facade rib prefabrication . and in the large ones 12. particularly with colleagues from Tome Lučić. Odlučili smo proizvoditi lamele u pogonu na gradilištu i zatim ih dizati i postavljati na mjesto dizalicom. D I N A R I K D . Tijekom izvedbe bilo je određenih promjena i projekta i izvedbe. došli smo do ideje da lamelu prefabriciramo u jednom komadu. . This is a big difference. A N TO N I O TO M I Ć .VO D E N AC . u malim lamelama imate 4. O . . This coincided with the architect’s idea. 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. Thinking over the conception of the concrete ribs. in the small concrete ribs you have 4. because for the sake of rapidity of production he needed effective rib prefabrication.

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

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

37 VISINA FASADNE LAMELE U METRIMA HEIGHT OF FACADE RIB IN METRES .

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

every day there was a roller and a bulldozer. Ne zaboravimo da su se transportirale lamele težine od 170 do 228 tona. T L – TO M E LU Č I Ć D . Njena donja ploča za montažu je uvijek morala stajati ravno. and the day before we had to think everything out and coordinate it all so there were no obstacles. O . Čim je nagib veći. TO M E LU Č I Ć . O . and in front of it the 220-ton rib.Dizalica se kreće po gusjenicama. The crane moves on its caterpillar tracks. Let’s not forget that there were elements of 170 to 228 tons being transported. Dizalica mora imati slobodan put pa dan prije moramo sve osmisliti i koordinirati da ne dođe do neke prepreke. . After the crane. The rib’s lower assembly always had to stand straight. Bilo nam je važno da lamele donosimo na mjesto montaže potpuno horizontalno. The crane had to have a clear path. a ispred sebe 220 tona tešku lamelu. which is a lot easier than putting in place an element that is hanging off the centre of gravity. ravnoteža lamele više ne funkcionira. kako zbog ravnoteže tako i zbog oslanjanja lamele na ležište s 9 vijaka. što je znatno lakše nego postaviti lamelu koja visi izvan težišta. because there couldn’t be an inclination of more than 1% in the crane’s path. It was important for us to get the elements to the assembly place completely horizontally. Iza dizalice su svaki dan išli valjak i bager. because of the balance and because of fitting the elements to a bearing with 9 screws. jer put dizalice ne smije imati nagib veći od 1%. While the concrete ribs were being moved to their assembly position the crane carried behind it 180 tons of ballast. Prilikom prenošenja lamele do pozicije ugradnje dizalica je iza sebe nosila 180 tona utega.

The details of the ribs are particularly sensitive. from the control of the contractor itself. unutar tolerancija koje projekt dopušta. od geodetske kontrole samog izvođača. well within the tolerances that the plan allows for. precision was particularly demanding. postoje protokoli i zapisi o obavljenim kontrolama i radovima tako da su odstupanja minimalna. Here. They supervised everything. To su tri različite geodetske službe i tri različite osobe koje jedna drugu nadziru. I N G RA D .Radi preciznosti izvedbe ustrojili smo geodetsku službu koja je pratila izvođenje svih radova. Surveying controls took place at several levels. DA R KO KO R E T I Ć . For the sake of precision execution we set up a surveying unit that monitored the execution of all the operations. because of their multifunctionality. Geodetskih kontrola bilo je na nekoliko razina. all checking on each other. and three different persons. Ingra’s own surveying control. D . there are protocols for and minutes of the controls and operations carried out so that there are minimum deviations. . There are three surveying units. via our surveying unit and the control of the surveying unit of the supervising engineer. Posebno su osjetljivi detalji lamela zbog svoje višestruke funkcije. Tu je preciznost bila posebno zahtjevna. Ingrine geodetske kontrole putem naše geodetske službe i kontrole geodetske službe nadzornih inženjera. Oni su sve nadzirali.

000 MAKSIMALNI BROJ DJELATNIKA NA GRADILIŠTU U JEDNOM DANU MAXIMUM NUMBER OF WORKERS AT THE CONSTRUCTION SITE IN ONE DAY .1.

337 TLOCRTNA POVRŠINA GRAĐEVINE U KVADRATNIM METRIMA BUILT SURFACE IN SQUARE METRES .27.

10 TORANJSKIH DIZALICA TOWER CRANES .

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

.

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

The rib is a prefabricated element for assembly. jer su se one naknadno sastavljale. O . O . So we had to find a way of making elements to facilitate relatively rapid and effective joining. spajamo je na konstrukciju kuće. 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. B E R I S L AV M E D I Ć . U P I – 2 M D . Tako se ostvario kontinuitet u armaturi. So we had a continuity in the reinforcing without this having any effect on the production of the ribs or of the stands. and this enabled us to build the sports hall independently of the ribs.Lamela je montažni prefabricirani element što nam je omogućilo da gradimo kuću neovisno od lamele. U beton i lamele ugrađivani su nastavci putem kojih se formiraju čvorovi armature za spajanje dvaju elemenata. Trebalo je naći način da se naprave elementi koji će omogućiti relativno brzo i učinkovito spajanje. a da to nije imalo posljedice na proizvodnju lamela i tribine. Tek u trenutku kada imamo gotovu lamelu. Only when we had a ready-made rib did we then attach it to the construction of the sports hall. because they were put together subsequently. .

U izvedbu krova uključeno je ukupno šest koope­ ranata.i hidroizolaciju i pneumatiku. Specifičnost ovog projekta je zahtjevan rad na visini pa je potrebna izrazita preciznost pri izvođenju. people in engineering and building. we ordered 2. krovopokrivači. Također. And then the deadlines were very tight. people with expertise in thermal and hydro insulation. rokovi su vrlo kratki. because of the long delivery times.000 tons of raw steel from abroad. LU K A A N D R I JA N I Ć . A particular feature of this project is demanding work at height and great precision is required in the execution. and pneumatics... . Primjerice. the cables were ordered and paid for in advance. E N I KO N D . we were all aware that. a po pitanju struka to su dodatni projektantski kadar. For example. ljudi stručni za toplinsku. ljudi strojarske i građevinske struke. we had to start off with the procurement of materials while the contractual obligations had still not been defined. roofers. izvedba krovne konstrukcije / contractor for the roof structure . In terms of trades and expertises there were additional design staff. Na temelju pisma namjere i velikog povjerenja u investitora naručili smo 2 000 tona sirovog čelika iz inozemstva. On the basis of a letter of intent and great trust in the client. D . sajle su naručene i uplaćene unaprijed… Six subcontractors were involved in the making of the roof. svi smo bili svjesni da treba započeti s nabavom materijala zbog dugih rokova isporuke dok još ugovorne obaveze nisu bile riješene.

on average practically two container loads of goods went out from our firm every day. and then airless spraying of anticorrosive protection was done. O . . Materijal se kontinuirano proizvodio i slao na gradilište. In those two months. We worked on the roof structure elements for the Arena practically 24 hours a day in three shifts with 130 workers.Elemente krovne konstrukcije Arene radili smo praktički 24 sata u tri smjene sa 130 djelatnika. O . izrada i predmontaža elemenata krovne konstrukcije / making and preassembly of roof structure elements . M – P RO F I L D . It was essential for the site to be coordinated with production in order to determine which elements were needed there. 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). There was a continuous production of material and sending it to the site. nakon toga zavarivanje te se izvodi antikorozivna zaštita airless tehnologijom. Then came the working of sections with a CNC line. slaganje pojedinih elemenata. after that welding. Bitno je da se gradilište koordinira s proizvodnjom da bi se točno utvrdilo koji elementi gradilištu trebaju. Nakon ulaza materijala u naš pogon slijedi priprema pa rezanje ogromne količine limova raznih dimenzija na automatskoj (CNC) rezačici. predmontaža u našem pogonu. putting the individual elements together. preassembly in our plant. A N Đ E L KO F E R E K JA M B R E K . Zatim ide obrada profila sa CNC linijom. U ta su dva mjeseca u prosjeku od nas dnevno izlazila po dva šlepera robe.

253 BROJ GLAVNIH ELEMENATA NOSAČA KROVNE KONSTRUKCIJE NUMBER OF MAIN ELEMENTS OF THE ROOF CONSTRUCTION .

.

103.6 RASPON OVJEŠENE KROVNE KONSTRUKCIJE U METRIMA SPAN OF SUSPENDED ROOF CONSTRUCTION IN METRES .

O . At the end of each cable is a nut. Kablovi se na lamele montiraju po principu sličnom vijku i matici. These are vast forces. The sophisticated ribs are made monolithically in ordinary concrete structure. This kind of solution was made feasible by contemporary cable production technology. just because it is suspended from outside.Arena Zagreb je kombinacija low i high-tech principa. It’s 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. and it can’t be seen from the interior. The roof’s bearing structure is only 45 cm high. O . The roof structure of the Zagreb Arena is close to the structure of a suspension bridge. a chain bridge. from the upper side of the roof. Fascinantno je da 110-metarski raspon visi na kablovima koji imaju promjer od samo 66 mm i da svaki od tih kablova može nositi 400 tona. Takvo je rješenje omogućila suvremena tehnologija proizvodnje kablova. The Zagreb Arena is a combination of low and high tech. B E R I S L AV M E D I Ć . With the use of a special hydraulic press. pa se u interijeru ne vidi. Uz pomoć specijalnih hidrauličkih preša preuzima se sila iz kabela i doteže matica. over a span of over 100 m. and then a high-tech roof structure is hung from them. The cables are assembled onto the ribs according to the nut and bolt system. U P I – 2 M D . Sofisticirane lamele monolitizirane su standardnom betonskom konstrukcijom i onda je s njih ovješena high-tech krovna konstrukcija. s gornje strane krova. Nosiva konstrukcija krova visoka je svega 45 cm na rasponu od preko 100 m samo zato što je ovješena izvana. Na kraju kabela nalazi se glava s navojem. the force was taken up from the cable and the nuts were tightened. Riječ je o golemim silama. lančanice što je i u svijetu rijetko rješenje. which is an uncommon approach anywhere in the world. Krovna konstrukcija Arene Zagreb bliska je konstrukciji visećeg mosta. .

Dakle. primjerice. D . that the assemblers construct. bravarski i stolarski. for example. but to these you have to add those in the workshops. There are 800 people on-site. Uvijek je potrebno te dijelove pregledati i u radionici. where things are first prepared in workshops and then assembled. Tu su i svi ostali pogoni. I N G RA D . osim 800 ljudi koji su tu stalno prisutni. a potom ih montažeri ugrađuju. riječ je o krovu i krovnoj konstrukciji. a onda se montiraju.Na gradilištu je 800 ljudi. gdje se stvari prvo pripreme u radionici. there are as many off-site involved for it all to be able to work. . DA R KO KO R E T I Ć . this is about the roof and the roof structure. dakle one koji pripremaju elemente koji se dopremaju. So. apart from the 800 people who are present all the time. sigurno ih je uključeno još toliko izvan gradilišta da bi sve moglo funkcionirati. prije nego dođu na gradilište. those who are preparing the elements that are delivered. Specifically. Konkretno. Then there are all the other departments like. It is always necessary to inspect these parts in the workshop before they arrive on-site. metalworking and carpentry. no njima treba pribrojiti i one koji su u radionicama. that is.

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

. And the roof shape makes it sensitive to the effects of the wind. and the other cables will take up the extra load. The stabilisation girder is an essential element of the roof structure.Vrlo bitan element krovne konstrukcije je stabilizacijska rešetka. we can relax the desired cable. If one girder is overloaded. možemo otpustiti željeni kabel. This consists of two longitudinal elements that are suspended from the main girders and join them. i. To su dva uzdužna elementa koja vise s glavnih nosača i spajaju ih. It turned out as early as the assembly stage that this works brilliantly. then the excess load is transferred to the other girders via the stabilising girder. Dodatno se opterećenje jednog nosača putem stabilizacijskih rešetki rasporedi na ostale nosače. which also enables us to replace cables. O . to lifting. a ostali će preuzeti dodatno opterećenje. Rešetke služe da anuliraju asimetričnost opterećenja poput nagomilanog snijega i slično. If something happens. Pokazalo se da to sjajno funkcionira već i u fazi montaže.e. Također. što nam omogućava i zamjenu kabela. odnosno odizanje. pa stabilizacijska rešetka služi i kao potrebni dodatni teret. B E R I S L AV M E D I Ć . forma krova je osjetljiva na djelovanje vjetra. They are used to cancel out asymmetrical loading like snow piling up and so on. Ako se nešto dogodi. U P I – 2 M D . O . and the stabilisation girder works as an additional necessary load.

Sveukupno postoji približno 6 500 spojeva. 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. Each one of the axes is different because of the geometry of the curvature. Svaka od 23 osi je različita zbog geometrije zaobljenosti. Each girder has to be made separately because there are no two identical ones. A N Đ E L KO F E R E K JA M B R E K . M – P RO F I L D . The basic element of the roof construction consists of 23 axes. Konstrukcija krovišta dvorane su čelični valjani H profili HEB 450 ovješeni preko raspona od 100 m sustavom ovjesnih pletenih užadi promjera Ø60 mm i vješaljki iz punih kružnih čeličnih profila Ø35 mm. O .Osnovni element krovne konstrukcije sastoji se od 23 osi po 11 nosača. Svi spojevi konstrukcije ostvaruju se zavarima kvalitete I i visokovrijednim pocinčanim vijcima. O . with eleven girders each. All the structural joins are done with top quality welds and expensive galvanised screws. . Izrada zahtijeva da se svaki nosač radi posebno jer ne postoje dva identična. Altogether there are about 6500 joins.

Na gradilištu se montiraju sekcije krovne konstrukcije. Pojedina se os sastoji od 11 nosača. Na gradilištu se predmontiraju segmenti od po 3 osi. Dakle, imamo 3 osi puta 3 elementa, a to je 9 što čini jedno polje, zbog dizanja. To polje je trodimenzionalno složeno. Sve smo nosače 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 poštivati 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 ele­ ments 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 Đ 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 izvođač radova, sa svojim inženjerima, ekonomistima i ostalim osobljem vodila cijeli projekt. U gradnji je sudjelovalo, u većoj ili manjoj mjeri, oko stotinjak različitih tvrtki koje su svaka u svojoj djelatnosti pridonijele uspješnom završetku projekta. U pojedinim fazama izgradnje na gradilištu je radilo više od 1 000 ljudi dnevno, a ponekad prema potrebi i kad je tehnologija posla zahtijevala, radilo se i noću. Zbog velikog broja različitih aktivnosti koje su se paralelno odvijale, da bi se mogla pratiti dinamika i osigurati rad svima, svakodnevno su se održavali koordinacijski sastanci. Mimo tih sastanaka, jednom tjedno održavali su se sastanci predstavnika svih izvođača, projektanata i nadzorne službe. 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 VJEŠALJKI NUMBER OF ROOF SUSPENSION CABLES .

DA R KO KO R E T I Ć . a moja je uloga da vidim o čemu je riječ i pokušam ih objasniti u suradnji sa svojim suradnicima i kolegama. The project is relatively big and the architects can hardly be expec­ ted to foresee every little detail and present it in such a way that it’s clear to the contractor. but still there is a string of lesser activities that would have been very difficult to plan in detail in advance. If it involves something that requires a decision or intervention from the archi­ tect. Ako je u pitanju nešto što bi zahtijevalo projektantsku odluku ili intervenciju. U Ingri smo radili projekt organizacije i tehnologije građenja gdje su osnovne aktivnosti razrađene i predviđene.Projekt je razmjerno velik i teško je očekivati od projektanta da može predvidjeti svaku sitnicu te je prikazati na način da je jasna krajnjem izvršitelju. Ponekad postoje neke nedoumice. ali postoji i niz drugih manjih poslova koje bi bilo vrlo teško detaljno isplanirati unaprijed. working together with associates and colleagues. D . In Ingra we worked out the project organisation and building technology. then we consult with the architects and the problem gets solved. Later on the plan was filled in and worked up in segments. konzultiramo se s projektantima i problem se riješi. I N G RA D . in which the basic activities were determined and anticipated. . and it’s my job to see what they’re about and attempt to explain them. Poslije je projekt dopunjavan i dorađivan po segmentima. when needed. Sometimes there are some doubts. prema potrebi.

. TO M E LU Č I Ć . O . vješaju se štapovi. Glava na koju ide matica za zatezanje mora biti posebno zaštićena.Dizanje sajli također radimo posebnim tehnologijama. T L – TO M E LU Č I Ć D . 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. Kad se na krovu nategne sajla. Sajle se na krov dižu u kolutima gdje se rastežu. It was our job to get the cable to the place where the nuts that are weighted with presses could be turned. We also did the lifting of the cables with special technologies. Prilikom rastezanja sajli potrebno je odrediti kut pod kojim će pojedina sajla ući u rupu u lameli i dizati ih u potpunosti prema gore da se ne oštete štapovi koji vise na njima… Naše je da dovedemo sajlu do mjesta gdje se mogu zavinuti matice koje se utežu prešama. O . 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. The head on which the tensioning screw goes has to be specially protected.

.

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

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

420 POVRŠINA ČELIČNIH VISOKOVALNIH PROFILIRANIH LIMOVA NA KROVU U KVADRATNIM METRIMA SURFACE OF STEEL ROOF SHEETS IN SQUARE METRES .14.

48 BROJ KROVNIH KUPOLA ZA ODIMLJAVANJE NUMBER OF ROOF VENTS FOR SMOKE EVACUATION .

8.760 POVRŠINA POLIKARBONATNIH FASADNIH PLOČA U KVADRATNIM METRIMA SURFACE OF THE POLYCARBONATE FACADE ELEMENTS IN SQUARE METRES .

.

113.000 POVRŠINA OBOJANIH PLOHA U KVADRATNIM METRIMA PAINTED SURFACE IN SQUARE METRES .

367.054 UKUPAN VOLUMEN INTERIJERA ZGRADE U KUBIČNIM METRIMA TOTAL VOLUME OF THE BUILDING’S INTERIOR IN CUBIC METRES .

000 VOLUMEN BETONA U KUBIČNIM METRIMA VOLUME OF CONCRETE IN CUBIC METRES .95.

zone. zones. WC itd. Svi elementi sustava zato moraju pružati konkretnu trenutačnu uputu za kretanje i istovremeno uvažavati prostorne elemente koje korisnik percipira kao uporišta u stvaranju mentalne mape. bojom kodirani sektori. the colourcoded sectors. toilets and so on). and what the best way to get to it is. koji je u našem slučaju istovremeno i izlaz. dizajn vizualnog identiteta i sustava usmjeravanja / visual identity and wayfinding system . the circulation. 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. for example. and what the direction of the place they want to go is (seats. I RA PAY E R . decision points. Korisnike treba voditi tako da lako prepoznaju svoj cilj i da budu sigurni da se uvijek znaju vratiti na početnu točku ulaska. u kojem se smjeru nalazi njihovo odredište (sjedalo. 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. a to su. coatrooms. primjerice. specific spatial signposts and so on. C AVA R PAY E R D . . O . 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. O .Cilj je dizajna sustava usmjeravanja i označavanja Arene Zagreb postići da korisnici u svakom trenutku znaju gdje se nalaze. specifični prostorni orijentiri itd. garderoba. točke odluke. cirkulacija.) i koji je optimalan put do njega.

piktogrami su nedvo­ smisleni. and has an official certificate to that effect. because colour only assists in orientation. the pictograms are unambiguous.Zajednička odluka s investitorom bila je visoka inkluzivnost i visoka usmjerenost korisnicima – čitljivost i vidljivost provjereno je besprijekorna iz svih kutova. Iako je kodiranje bojom u Areni Zagreb dosljedno provedeno i služi kao važan alat u usmjeravanju. a odabrana tipografija je posebno prilagođena slabovidnima i u tom smislu ima i službeni certifikat. O . jer boja samo pomaže u orijentaciji. 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. O . I RA PAY E R . a nigdje ne zamjenjuje egzaktnu verbalnu informaciju. and never replaces exact verbal information. 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. projekt signalizacije funkcionira i u slučaju kada korisnik ne raspoznaje boje. C AVA R PAY E R D . and the typography employed is particularly adapted to the visually challenged.

919 UKUPAN BROJ PARKIRNIH MJESTA TOTAL NUMBER OF PARKING SPACE .

300 PRIBLIŽNA MASA POMOĆNIH 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 DUŽINA CJEVOVODA GRIJANJA I HLAĐENJA U METRIMA LENGTH OF CLIMATE CONTROL DUCTS IN METRES .

tj. Za samu građevinu kao finalni proizvod definirali smo tehnološke i sigurnosne procedure. O . P ROS P EC T U S D . projekt evidencije ulaska posjetitelja. The project consists of a number of dependent. Baš je zbog te integracije ovaj sustav jedinstven u Hrvatskoj. designing and controlling the execution and functioning of the security systems of the future sports hall. via planning. protuprovalne i protuprepadne zaštite. as a final product we defined the engineering and security procedure. anti-burglar and anti-intrusion protection. integrated designs. For the building itself. the site and the actual building of the facility. Svi su sustavi integrirani tako da je u bilo kojem slučaju sve povezano i s evaku­ acijom i sa svim ostalim događajima nužnim za sigurnost posjetitelja i objekta. projekt tehničke zaštite / surveillance and security system design sustav sigurnosti / security system . a fire alarm system plan and a CO detection plan. the basic precondition for the working of the security system in a building as complex as this. the protocols for accessing the hall and movement in it.O. These are video surveillance designs. All the dependent projects are controlled via a single interface. no daljnju organizaciju osiguranja preuzet će upravljački menadžment dvorane. To su projekti videonadzora. The actual security project is multidisciplinary. Tvrtka Soboli preuzela je konzalting poslove kompletnog osiguranja. SOBOLI D. The future security of the hall will be based on the security systems built in. from the building in the construction phase. Ideja vodilja projekta je sigurnost posjetitelja kao temeljna pretpostavka funkcioniranja sustava zaštite na ovako složenom objektu. od građevine u izgradnji. preko planiranja. Sam projekt osiguranja je multidisciplinaran. nadzora pristupa. Soboli has taken on the consulting of jobs of total security.e. The principal idea of the project is visitor safety. VLADIMIR CELINŠĆAK. . pa čak i u svijetu. odnosno protokole pristupa i kretanja u dvorani. gradilišta i same izgradnje objekta.O.Projekt čini niz zavisnih.. međusobno integriranih projekata. 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. Buduće osiguranje dvorane temeljit će se na ugrađenim tehničkim sustavima zaštite. i. access control. projekt sustava za dojavu požara i projekt detekcije CO. Preko jedinstvenog sučelja upravlja se svim zavisnim projektima. O . It is this integration that makes the system unique in Croatia and in fact in the world. projektiranja i nadzora izvedbe i funkcioniranja sigurnosnih sustava buduće dvorane. but the further organisation of the security will be taken over by the management of the hall. ST I P E BA L J K A S . a design for registering visitor entry.

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

Z AVO D Z A E L E K T ROA KU ST I KU . These are the parameter extremes within which the plan moves. U ovakvim velikim dvoranama akustika se mora riješiti tako da se uklopi u rješenje interijera. ona se praktički ne primjećuje. a one nešto manje kritične će se optimizirati na prihvatljivu razinu. Z AG R E B . This kind of concert is suited by a nonresonant. D R . and the less critical could still be optimised. akustički gledano. tako da prostor što manje utječe na glazbu. Then the roar of the fans is lost. In halls of this size the acoustics has to be settled in such a way as to fit into the interior design. Sporting events on the other hand are a special issue because they can’t go on in a completely dry hall. tj. projekt akustičkog uređenja / D E PA RT M E N T O F E L EC T ROACO U ST I C S . acoustics design . Sportske priredbe.Dvorana je višenamjenska. then it is hardly even noticed. and so the home team doesn’t get its support. a time i potpora domaćem timu. Toj vrsti koncerata pogoduje prigušen. i to one koje se rade putem ozvučenja s obzirom na veličinu dvorane. FA KU LT E T E L E K T ROT E H N I K E I RAČ U N A R ST VA . To su krajnje vrijednosti unutar kojih se projekt kreće. for the space to have the least effect on the music. H RVOJ E D O M I T ROV I Ć . a ako je akustika dobra. Sigurno da su. P RO F. acoustically dry space. s druge strane. Z AG R E B . The most important type of event are music performances. Trebalo je odrediti mjeru gdje će biti zadovoljeno najviše korisnika i to tako da se najkritičniji događaji riješe. multifunkcionalna i samim time akustika ne može biti idealna za sva događanja. This is a multi-purpose hall and this very fact makes it impossible for the acoustics to be ideal for all events. and if the acoustics is good. posebna su problematika s obzirom da ih se ne može napraviti u potpuno prigušenoj dvorani jer se onda gubi huk navijanja. and for the most critical things to be handled. akustički suh prostor. One had to set the measure where as many users as possible would be satisfied. 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 . najvažniji vid događanja glazbene priredbe. those that use speakers. because of the size of the hall.

Over the years we have seen an increase in audience expectation in respect of sound quality. stražnji zidovi VIP loža i čelične grede krova. arena roof. balcony fronts. Furthermore. stražnji zid gledališta. reduction of glazed areas and diffusion. Arena Zagreb projektirana je prema visokim akustičkim standardima i ima sav potreban potencijal da je se okarakterizira kao prvoklasnu građevinu u krugu međunarodnih koncertnih prostora. angling of surfaces. Nadalje. VA N G UA R D I A CO N S U LT I N G . krov arene. The sound quality and acoustics within a venue are becoming key issues for the live music industry. Tijekom godina svjedočimo povećanim očekivanjima u pogledu kvalitete zvuka. 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. fronte galerija.Vrste intervencija su vrlo različite: od primjene akustičke apsorpcije. artists are striving for digital CD quality sound for live performances so the need for good architectural acoustics is paramount. J I M G R I F F I T H S . rear walls of the spectator area and steel roof beams. Područja intervencija su fronte VIP loža. The types of treatment are varied from the application of acoustic absorption. izvođači teže digitalnoj CD kvaliteti zvuka i prilikom koncertnih izvedbi pa je potreba za kvalitetnom arhitektonskom akustikom imperativ. preko zakošenja površina do smanjenja broja ostakljenih ploha i difuzije. projekt akustičkog uređenja / acoustics design . Areas to be treated include: the fronts and the rear walls of the VIP boxes. Kvaliteta zvuka i akustika objekta prilikom koncertnih izvedbi postaju ključne teme za muzičku industriju.

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

.

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

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

To me personally. a vjerujem i svim građanima. i kao novi graditeljski simbol grada Zagreba. the Zagreb Arena means a lot. and to all players of the Croatian national handball team. I G O R VO R I . it is nevertheless a unique feeling to play on a home field. and as a new architectural symbol of the City of Zagreb.000 fans in an exceptional environment. especially me being from Zagreb.Izuzetna mi je čast da sam baš ja kao Zagrepčanin zabio prvi gol u novoj Areni Zagreb u prijateljskoj utakmici s Rusijom. both as a venue for large sports events. Nadam se ta je taj prvi gol tek početak uspjeha hrvatskih sportaša u Areni Zagreb. I hope this first goal is but the start of Croatian athletes’ list of succes­ ses in the Zagreb Arena. Iako sam u inozemstvu igrao u dvoranama slične veličine. Arena Zagreb znači izuzetno mnogo i kao mjesto za velika sportska događanja. ipak je jedinstven osjećaj igrati na domaćem terenu i uz vatrenu podršku 15 000 svojih navijača u jednom izuzetnom ambijentu. It is a great honour to have scored the very first goal in the Zagreb Arena. and I believe to all citizens. Even though I have played in sports halls of this size abroad. I meni osobno. enthusiastically supported by 15. hrvatski rukometni reprezentativac / Croatian national handball team player . during the friendly match with Russia. i svim igračima hrvatske rukometne reprezentacije.

.

Davor Banovac T I M A R E N A Z AG R E B – I N G RA . Dinko Pejković. Tanja Turudija. Ivan Getaldić. Bruno Brunović. Slobodan Suša. D . Igor Muža. Željko Šilić. Damir Crnković. . Jelena Bučan. Vesna Ledić Oppenheim. Darko Ivanda. Danko Deban.Igor Oppenheim. D . Tomislav Delivuk. Dejan Dragić. Dalibor Mesarić. Željko Špoljarić. Petar Radošević. Sandra Obuljen. / T H E Z AG R E B A R E N A T E A M – I N G RA . Hrvoje Cesar. Marija Dodig. D . Đeno Jurišić. D . Marijan Kostrenčić. Miran Kožar. Darko Koretić. Tomislav Antunović. Tomislav Kušenić. Ivan Risek. Jasminka Vusak. Tomislav Šindler. Tomislav Skočibušić.

which is logical for the rapid distribution of spectators to the stands. We wanted the concourse to be viable as an urban space and so. and we did this with access stands from the east. B E R I S L AV M E D I Ć . For the design. pa zatim rampama prema zapadu i trgovačkom centru. the logic of the entry from an elevation of five metres is very important. and then with ramps to the west and the mall. For this reason a raised plaza was formed. dio ugostiteljskih lokala orijentiran i prema njemu.Za projekt je važna logika ulaza s visinske kote od pet metara. U P I – 2 M D . Ideja je bila da se teren uzdigne na ulazni plato i to smo izveli pristupnim tribinama s istoka. Zbog toga je formiran povišeni trg koji je ujedno i postament dvorane. O . which is at the same time the base of the sports hall. O . Željeli bismo da plato zaživi kao jedan urbani prostor pa je. some of the commercial units face onto it. The idea was for the ground to be elevated up to the entrance concourse. koja je logična zbog brze distribucije gledatelja na tribine. primjerice. for example. K ATA / 1 ST F LO O R P L A N . T LO C RT 1 .

Taj nam je početni impuls značajno skratio proces projektiranja jer smo u najkraćem mogućem roku odabrani model školjke prilagodili zagrebačkim uvjetima. solve the unknowns. P O P R EČ N I P R E SJ E K I UZ D UŽ 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 . This initial impulse considerably shortened the design process. We had to concentrate on the essentials and use what was known. O . Our first task was to find a concept for the auditorium bowl that would satisfy the requirements.Arena je. Just when we had agreed on the job. the World Handball Championship 2009. ali i drugih sportskih natjecanja. Trebali smo se koncentrirati na bitno i koristiti ono što je poznato. a rješavati ono što je nepoznato. Ingra was having contacts with the Greek firm Decathlon. U trenutku kad smo dogovorili taj posao. trebala omogućiti održavanje Svjetskog prvenstva u rukometu 2009. among other things. The Arena has to cater for. A L A N L EO P L E ŠT I N A . O . as well as other sporting events. U P I – 2 M D . and so we could work with them. pored ostalih namjena.. Ingra je imala kontakte s grčkom tvrtkom Decathlon koja se bavi projektiranjem sport­ skih objekata te nam je omogućila suradnju s njima. Naš je prvi zadatak bio pronaći koncept školjke gledališta koji zadovoljava tražene uvjete. which designs sporting structures. because in a very short time we were able to adjust the chosen model of auditorium to Zagreb conditions.

o.o.o. Velimira Škorpika 3B.o.o.com Jurcon projekt d.hr Enikon d.o. Kralja Krešimira 4B. Merlinov put 4.hr Podosjaj d. Slavonska Avenija 3. Deutschland klaus.o. Grčka dechatlon@dechatlon.hr Eheim Moebel Gmbh Friedrichsruher Str.o. 10000 Zagreb ira@cavarpayer. Obrtnička 1.o.o.o Oreškovićeva 1A. 10090 Zagreb farbo. Radnička cesta 27.o.o.o.o. III Ravnice 10.o. II Cvjetno naselje 19. Tokyo.zigulic@ellabo.o.o.o. Slovenija miha. 10000 Zagreb radio.hr Lift Modus d.o. 21.o.o.hr Pavušin d.o. 10000 Zagreb zea@fer.o. 10000 Zagreb tuv@viessmann. 10000 Zagreb dejan. 10000 Zagreb grgamont@zg. Industrijska zona bb.franusic@ka. 10000 Zagreb info@liftmodus.hr Bilić i Erić d.hr AS interijeri d. 10000 Zagreb marina.o.videc@email.hr V.o. 10000 Zagreb kresimir. 10010 Zagreb ivica.hr Carin d.o.o.o. Nazorova 23. Ilica 28. Franje Tuđmana 11. Cincinnati. Pod brezom odvojak 14.t-com. Dr. Wiena. Japan Signalinea d.o.o. Surrey. Antuna Mihanovića 3. 10000 Zagreb proklima@proklima. 31000 Osijek Elkom d.interijeri@zg.o.vujic@vd-gradjenje.hr Cavarpayer d. 10000 Zagreb nova-forma@zg.o. 10000 Zagreb basal@zg. Holjevca 20.d.o. 42230 Ludbreg info@dulex. 10000 Zagreb TTI d.hr Klanjčić d.o.com Primakon d. Petra Preradovića 111.o.t-com. Zelina komercijala@alu-kon.o.hr Mdprofil INTRA d. Grada Mainza 24. 10000 Zagreb ipro@ipro. 10000 Zagreb crobasket@crobasket. 42240 Ivanec habek@elkom. 21000 Split Polyester univerzal Predovečka 11. 4275 Begunje na Gorenjskem.hr Soboli d. 10000 Zagreb geokon-zagreb@geokonzg.o.hr Supervizija d.hr Interijer d. Ohio 45226 USA jvargas@robbinsfloor.hr Lumenart d.o.d.o.hr Euromax d.hr Metalmania d. 10000 Zagreb Damgrad d. 10340 Vrbovec zeljko. Ružmarinka 21. 10000 Zgreb rozman@zg. Tratinska 1.o. 10000 Zagreb damgrad-sd@zg. Rapska 37. 49214 Veliko Trgovišće info@tl-tome-lucic.o.o.o.hr STS Metal d. 10000 Zagreb Eccos d. Ventilatorska 9.hr Klimaoprema d.uk Veronica d.hr ENEL d.hr 150 151 .o.d. Posavskog bb. 49210 Zabok m-profil@m-profil. 10000 Zagreb dominik. 10360 Sesvete bilic-eric@bilic-eric.sjaj@kc.hr Dechatlon 3 Timarchou Str.com Grasa d.o.hr Top-glazure d. Dunjevac 1.o. England office@vanguardiaconsulting.o.o.com Pavičić interijeri d.sadaic@siteco.o.o.si Electrolux d. Oxted. Andrije Žaje 10.o.hr METAL PROJEKT d.o.t-com. 10250 Zagreb podo.hr Sim-gradnja d.o.com Wagner Biro Austria Stadlauerstrasse 54. Frankopanska 81.o.hr MILJAK GRAĐENJE d. Okrugli vrh 50A.hr Fugaplast d.cakija@eccos. Marina Držića 81B.o.o. Karašička 22A.hr M– Profil Zabok Prilaz dr. 10290 Zaprešić info@funda.t-com. 10000 Zagreb Tehnoguma d.hr Tehnozavod Marušić d. Samoborska cesta 203.o. Kralja Zvonimira 35. 31400 Đakovo mknapic@mdprofil.o. Furtingera 1.o.o. Sunekova 186. Trondheimska 4D.hr TL-Tome Lučić d. 10000 Zagreb luka.o. Bani 73B. 10250 Zagreb petar. Rh8.t-com.o. 10000 Zagreb soboli@soboli.o.koroman@hrbi. Gradiška ulica 20.o.hr Viessmann d.jakus@jci. 21000 Split miljak-gradjenje@st.o.o.o. Slavonska cesta bb.o.o. 43000 Bjelovar prodaja@elektrometal. Krajiška 10. Buzin zeljko@fero-term. Ostereich harald.o. Šenoe bb.o.o.o.o.t-com.o.o.o.hr Johnson Controls d.D. Veruda 60B.o.hr Gamont d.o.o. 10000 Zagreb gamont@zg.kapetanovic@hunterdouglas.o.o.o.hr Vanguardia Consulting 21 Station Road West. V.o.o. Gotalovečka 4A.hr Dajak-mont d. Smodekova 12A. Budmanijeva 5/3. Petrova 15.t-com. A Mandića 9.o. 34310 Pleternica contura@contura. Kamenarka 24. Av.o.hinet. 40311 Lopatinec mdv@ck.o.andrijanic@enikon. XIII Podbrežje 26. Ferde Rusana 21. Luje Naletilića 29.o.pracaic@opik.hr MD & V d. 10000 Zagreb ravagao@resinex. 10000 Zagreb tgstil@tehnoguma-zg. Selska cesta 72.o.lovko@pastor-group.o.o.hr Geokon Zagreb d.hr Senoh Corp.poeschel@waagner-biro. Kalinovica 3. 10431 Sveta Nedelja kresimir1@klanjcic. I Pile 21.o. Fakultet elektrotehnike i računarstva Sveučilišta u Zagrebu Unska 3.o.t-com. 10000 Zagreb grasa@grasa. 10340 Vrbovec HEP d. Cvetković 95A.o.rakovac@electrolux.hr Podovi d.com. 43000 Bjelovar metalind@bj.hr Invento Pro d.o.o.com Rožman d. 10000 Zagreb MST d.hr Fero-Term d.o.o Talani 14.com.com ALU KON d.hr MM-Plan d.o. 10000 Zagreb info@brajdic-polyester.t-com. Vukovarska 178. Veslačka 2. Joze Martinovića 7.t-com. Prisavlje 12.o.o.o. 10000 Zagreb tamara@upi-2m.o. 10000 Zagreb tamara.Popis podizvoditelja List of subcontractors Adde Podne Obloge d. Trg Dražena Petrovića 3/17.moto@radio-moto.hr Elektrometal d.o.de Elan Begunje 1.o.o. Gola 48331 Funda d.hr Eurokran d.o. 10000 Zagreb vladimir. S.hr Cro-basket d.o.hr Pastor Inženjering d. Ulica grada Vukovara 37. 10000 Zagreb db@primakon. Trg Vladka Mačeka 6.o. Puškarićeva 77A. Paukovečka cesta 23. Lj.o.o.com Proklima d.hr Zavod za elektroakustiku. 10430 Samobor info@maestral-gp.com Contura d. 11634 Atena.hr Ellabo d.o. 10000 Zagreb palmir@palmir.hr GT Građenje Polet d.o. 10382 D.hr Brodarski institut Av. Košutića 6.o. Primorska 8.o.o. 3071 Rotterdam. Pul Vele Crikve 1. Stanka Pinjuha bb. 10452 Donja Zdenčina petar@mst-intersped. 10430 Samobor gvuksan@klimaoprema.o.o.hr Grgamont d. Bužanova 10A.o. 47000 Karlovac interijeri. Goričica.o.o. Netherlands s.hr Palmir d.J. 10000 Zagreb rina@invento-pro. 10000 Zagreb Zaštitni sustavi Zagreb d. Starotrnjanska 16A. 10434 Orešje info@metalmania.hr Elektro-Vrata d.o. 10450 Jastrebarsko vladimir.com Zakladani staveb d.o. 10437 Rakitje hrvoje.o. 10000 Zagreb FARBO INTERIJERI d. 1000 Zagreb Hunter Douglas Pierkstraat. 10000 Zagreb Metalind d. Braće Radića 11. 10000 Zagreb pavicic@pavicic-interijeri.o.hr IPRO Inženjering d.gr Diringer&Schiedel d. 10000 Zagreb Basal d.o.frey@eheim-moebel. 51000 Rijeka signalinea@ri.o.t-com. Ivanečko naselje 1D.o.o.o. 10000 Zagreb jurcon.hr Đani Keramika d. Ventilatorska 9. 10250 Zagreb eurokran@zg.hr Geodetika d. 10000 Zagreb zlatko.o.o. Zvonimirova 122. Ivana Zajca 8. Pitomača aluferit@aluferit-gradjenje.o.o.hr Aluferit građenje d.o. Brešćenskoga 9. gajnički vidikovac 10.o.o. Vrhovčak. Bana Josipa Jelačića 45.o.marusic@tehnozavod.d.co.hr Radio Moto d.o. Rakovac 39.o.hr Robbins 4777 Eastern Avenue.hr Intel Trade d.t-com. CMP Savica Šanci. 10000 Zagreb veronica@veronica. Martićeva 23.htnet. Kladuška 3.o.o.htnet.htnet. 51410 Opatija zg@intel-trade.pavusin@pavusin. J. A.o. Z. Novačka 2. 1. 10430 Samobor d.o.o. 52100 Pula skira@lumenart. 47000 Karlovac Dulex d.o. Ohringen.projekt@inet. 10000 Zagreb v.hr UPI– 2M d.plahutar@geoing.hr OPIK d.o.kovacevic@enel. 10090 Zagreb strojoservis@strojoservis.o. GRAĐENJE d.hr Siteco Sistemi d.o.o. Gradna 78A. Srossmayera 153.t-com.o. 10000 Zagreb Geo-Ing d.ster@elan. Dr. 10000 Zagreb r.o.o.o.o. II Plemičko 22. 10000 Zagreb info@carin.o. 10000 Zagreb dzagorac@armstrong.o. Obrtnička 1. Heinzlova 53A. 2-2-13 Minami Shigahawa.o.safarik@tti-zagreb.o.o. Livadarska 18A.hr NOVA FORMA d.hr Maestral GP d.

20. O . Za izdavača / For the publisher IGOR OPPENHEIM Glavni urednik / Editor M A ROJ E M R D U L JA Š Uredništvo / Editorial board VESNA LEDIĆ-OPPENHEIM M A ROJ E M R D U L JA Š 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. Naklada / Print run 2000 Zagreb. / page numbers 6. (str. T I N A I V E Z I Ć Suradnica urednika / Assistant editor M A RTA K I Š Lektura i korektura hrvatskih tekstova / Lecture and proofreading of Croatian texts M A JA T R I N A J ST I Ć Prijevod na engleski / English translation G RA H A M M C M A ST E R DAVO R J U R I Č I Ć 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 . / except page numbers 6. O . / page numbers 22-25) ST U D I O H RG (str. O . D . 21) Dizajn / Design I RA PAY E R . Zagreb. 20-25) I N G RA D . D . O . Tisak / Printed by P R I N T E RA G R U PA D . CIP zapis dostupan u računalnom katalogu Nacionalne i sveučilišne knjižnice 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 . Alexandera von Humboldta 4b. 2008.Arena Zagreb The Zagreb Arena Nakladnik / Publisher I N G RA D . D . Hrvatska / Croatia Copyright I N G RA D .