Arena Zagreb The Zagreb Arena

Ingra d.d., Zagreb, 2008.

M A ROJ E M R D U L JA

M A ROJ E M R D U L JA

Arena Zagreb, od stvaranja prema budunosti

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

glazbenika ili velikih sportskih dogaanja napokon su dobila pri kladni prostorni okvir. Za njen je nastanak posebno vana koncepcija javno -privatnog partnerstva, modela koji je u svijetu jedan od glavnih pokretaa razvoja gradova i izvedbe kapitalnih projekta, no u Hrvatskoj je novina koja tek daje prve rezultate. Svakako, suradnja Republike Hrvatske, Grada Zagreba i Ingre na projektu Arene Zagreb pokazala je da je javno-privatno partner stvo naroito uspjean model financiranja kljunih urbanih intervencija. Nadalje, graditeljsko rjeenje Arene Zagreb je jedinstveni hrvatski proizvod, rezultat ovdanjeg znanja i kreativnosti te operativnosti i profesionalnosti graevinske industrije. Takoer, sinergijski odnos svih sudionika u osmiljavanju i gradnji Arene omoguio je da se u izuzetno kratkom roku osmisli i izvede graevina na temelju dostizanja maksimalnog rezultata iz postojeih resursa, da se kombinatorikim razmiljanjem o dostupnim graditeljskim sredstvima i rjeenjima postigne gotovo nemogue. U tom smislu, Arena Zagreb je proizvod koji je po uspjenom i realis tinom povezivanju kreativnosti i operative uzoran na opem planu hrvatskog drutva te moe biti konceptualan model i za druga podruja industrije i drugih djelatnosti. Svakako, u knjizi je teko sasvim vjerodostojno predoiti kompleksnost i opseg projekta, dinaminost gradilita i sva zbivanja koja obiljeavaju nastanak ove graevine. Izostaje osjeaj fascinacije mjerilom zahvata na samom gradilitu, nije mogue reproducirati vibracije i zagluujuu buku strojeva, vrevu stotina radnika, prenijeti vrtoglavicu koju izaziva visina na kojoj se odvijaju pojedini radovi. No, mogue je ta iskustva posredovati u knjiku formu briljivim pristupom temi: mjesecima snimati tisue fotografija, voditi razgovore s brojnim zanim ljivim sugovornicima razliitih struka, stvoriti dramaturgiju unutar samog medija knjige i sklopiti mozaik kojim se nastoji opisati to to znai projektirati i graditi. Zahvaljujui takvom mozaiku, formativni period ivota Arene Zagreb ostaje trajno zabiljeen i opisan, a protagonisti njenog nastanka govore o vlastitim iskustvima i doivljajima iz perspektive konanog cilja preputanja Arene Zagreb njenom zrelom, samostalnom ivotu. Kao i sama graevina, i ova monografija je zajedniki rad jer je nastala u kontaktu ljudi koji su neposredno sudjelovali u izradi knjige i samih graditelja. U tom smislu, autorstvo knjige je kolektivno, a prikazani fotografski motivi i tekstovi tek su vrh ledenog brijega cjelokup noga dokumentiranog materijala. elja je svih koji su sudjelovali u ovom projektu da Arena Zagreb zaivi kao jedan od kljunih javnih gradskih projekta, a nadamo se da je knjiga barem donekle uspjela zabiljeiti brojne napore koji su poduzeti da se ta elja i ostvari. excellence of its technical equipment. Many of the events that have to date Every building has three life cycles, linked into a single continuous temporal passed Zagreb by, like concerts by top musicians or great sporting events flow, but also clearly demarcated from each other, with their own entirely different characteristics. The first life cycle of a building refers to the initiative have at last obtained a suitable venue. Of particular importance for its origin is the concept of the public-private partnership, a model that in the world behind its foundation. It unfolds entirely in the sphere of idea and abstracat large is one of the main generators of city development and the perfor tion, in the considerations of the creators of the project, the client and the mance of capital projects but that in Croatia is a novelty only just bearing architects. Once the plan is fully completed, it is given over to the hands of fruit. Certainly, the collaboration between the Republic of Croatia, the City the builder, the start of the second life cycle, in which the concept takes of Zagreb and Ingra on the Zagreb Arena project has shown that the publicon physical form, the idea is transformed into a building body. Both the -private partnership can be a very successful model for the funding of key design cycle and the construction cycle start off from a tabula rasa of bare urban interventions. The architectural approach of the Zagreb Arena is a white paper or the bare soil of the plot on which the building is to spring up. unique Croatian product, the result of the knowledge and creativity of the Clients, architects and contractors are very familiar with that thrill when in place, the operational capacity and professionalism of the civil engineering every project they embark into the unknown, however much the procedures industry. The synergetic relationship of all the participants in devising and and processes in the creation of a building are known to them beforehand. building the Arena has enabled the extremely rapid design and construction And so every project is a story all by itself, for every building has its own of a building aimed at achieving maximum results from existing resources unique life, its peculiarity, and ultimately its identity. and, with a canny permutation of the existing building resources and When the building is completed, it enters into its third life cycle, in which approaches, pulling off the practically impossible. In this sense, the Zagreb it acquires its full meaning. Thus the two formative periods are over, and Arena is a product that in terms of a successful and realistic combination the long-lasting period of maturity begins, of participation in the life of the of creativity and operational capacity is exemplary at the general level of town and the community. But its prehistory will often remain concealed, its Croatian society and can be a conceptual model for other areas of industry existence seemingly self-evident, as if the existence of some building were and other activities. a given fact in and of itself. Sometimes the name of the architect will be It is certainly difficult in a book to give a veracious account of the comremembered, sometimes that of the client, but for the users, the process plexity and scope of the project, the on-site dynamism and all the events that that brought it into being has little or no meaning, and the numerous efforts have marked the origin of this structure. What is missing is a sense of the fasinvolved in its production are forgotten. cination with the scale of the operations at the very site, it is not possible to The Zagreb Arena is an enterprise of major dimensions and on a grand reproduce the vibrations and the deafening noise of the machinery, the bustle scale, a public building the like of which has not been built in Zagreb or of hundreds of workers, to convey the vertigo induced by the height at which Croatia for decades. The formative period, which is still going on while these some of the works are performed. But it is possible to mediate this experience pages are being written, is to an extent unfolding before the eyes of the pubin book form with a heedful approach to the topic: taking photographs from lic and the media, but few, except the immediate participants involved 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 citys key public projects, and we hope that this memento for many reasons. It is hardly necessary to insist on the imporbook succeeds at least to a degree in recording the numerous efforts which tance of such a building for the city of Zagreb, for Croatia, and the region were made to bring that wish about. in general, considering its capacity, the many uses it can be put to and the
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Stvaranje novih vrijednosti

Osvrt predsjednika Vlade Republike

Constructing New Values

A Remark from the Prime Minister of the Republic of Croatia

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

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

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

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

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

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

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

i projekt konstrukcije / architectural project and project of construction

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

Arena Zagreb novo gradsko obiljeje

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

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

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

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

The Zagreb Arena a New City Landmark

without precedent in our post-war architecture according to its purity The image before one when approaching Zagreb from the south is of construc tion and plastic expression which was executed at unique; it is a vista in which traces of urbanism hundreds of years old Dinamos stadium (Turina, Neidhardt, Erlich, 1946-55). The logic of this have been preserved, starting from the initial defined construction on construction task enabled the environment and the stadium to interact the slopes of Sljeme, through the ecclesiastical and secular hilltops in a unique manner, whereby the public space and beauty of Maksimir Kaptol and Gradec all the way to the suburbs and their planned block became part of the sports complex. The wider urban context of the design, the soothing, regular rhythm of which harmoniously encircles the historical city core. By bridging the Sava, the citys expansion began, Maksimir example, and that of the Arena and Lanite will not be compared, but let us add that nearby Jarun is among the best horticultural and there has been unbelievable growth in recent years, so that we can solutions adjusted to the sports taking place at this lake; the connecwitness on an almost daily basis the results of Zagrebs new urban tion between these two locations, via a network of walkways, will constrategy, some of which deserve attention. tribute to the exploration and utilization of the city from a different, Over time we have seen how the cultural and urban mode engenmore active perspective. dered in the post-war years displayed its functionality and success, despite the then political and economic obstacles. The urban morphology we inherited from that era relies on the ratio between housing con- Icon Qualities and Constructivity. The Arena first seemed like a sculpture on a meadow, within an environment still not articulated in struction and the necessary contents required for neighbourhoods to urban terms, situated in the western city limits that will, if we are to function (kindergartens, schools, service centres). In contrast, the transitional period of today established new criteria; permanent transience judge by the master plans, be completed by several high rises and a line of housing blocks by the banks of the Sava. Thanks to the rhythm is a syntagm which illustrates dominant standards still defying classiof construction, we were soon able to convince ourselves that this is a fication, while the democratization and liberalization of conditions for peculiar amalgam of construction strategies and form, an example of construction still do not necessarily lead to the architectural culture construction-engineering architecture where form is directly connected we yearned for. to structure. Viewed as a symbol, the Arena is stripped of the symbol ism and associations we might possibly expect. The curved ribs contain Selected Details of the History of Sports Facilities Construction. a prism-like volume within the whole, and thanks to the openness of The construction of sports facilities in Zagreb has exhibited certain the access zone and the light in the central part, the building commusimilarities from the latter half of the 19th century until today. The first nicates with the environment. Eighty-six supports of different heights construction in Zagreb dedicated to sport the marksmanship ranges (28 to 37 m) form a shell with a dynamic rhythm, the organic qualities at Tukanac was linked to cultural, educational and similar facilities, of which can be linked with sports events on the conceptual plane, but which the newly built Arena is partly intended for as well. The estabsimultaneously depend on simple laws of physics in principle. Cast just lishment of organized sports associations was not supported by adeby the construction site, the supports are elements unifying the expresquate construction, while the peripheral placement sion of forms and the functionality of construction. of these objects both then and now can be explained by the The Zagreb Arena is a building of special importance, a landmark peripheral positions of land plots, but also the general attitude to an iconic form which announces a certain deviation from the urban sports. The traditional lack of sports fields has been improved by the scheme within which it was constructed, at the western entrance to the construction of individual objects, which today mostly fail to comply city. Its short history has been volatile, defined by the conditions ruling with standards, nor are they able to serve different purposes. the transitional society of today. The ability to adapt, fast solutions to If we peek into the history of construction in order to find examproblems, the cultivation of an environment dedicated to sport, enterples that help us in determining peculiarities of Zagreb architecture tainment, fair and conference facilities all this and plenty of other through a humane principle of a sort, let us here mention the football criteria had to be met in order for this peculiar, white construction to stadium in Maksimir. Writing on the Arena, we cannot but rememwithstand the weight intended. Which was not light. ber t he West Stand a concrete skeleton of large, powerful rhythm,
18

The functional limits of the interior depend on decisions on the types and number of sports the pitch serves, as well as on the anticipation of the weight of the equipment each larger rock n roll band must be able to hang above the stage these are but a few of the set parameters conditioning the interior of Arena. The flexibility of the spectator stands, apart from the type of sport, is also conditioned by the fact that Arena will host sporting events only 30 per cent of the time. The authors of the architectural design, Berislav Medi, Alan Leo Pletina, Nenad Borgudan and Tamara Stanti-Bri, from UPI2M, primarily had to comply with numerous conditions which presuppose functional and cost-effective use of Arena, while the outer form is where they were able to display their skill. The facade was continuously framed in reinforced concrete ribs, the central parts of which are connected by milky white panels illuminated from behind. The primarily functional inner organism conceived was thus lightened by its construction that appears light and airy. The ribs turn into free volumes in the upper zone, being shorter on the narrower sides of the building, supporting the roof construction by forming a peculiar, tense fifth facade, the steel cables of which delineate the designed geometry of relationships dominating the interior, even though it is invisible to the spectators. While the interior of the Arena must primarily comply with the specific requirements of the sports pitch the location of movable stands adjusted to the current sporting or concert event, the position and equipment of commentator booths and VIP boxes, the use of utterly simple signalization understood by all, and the framing of spaces with materials which have satisfactory acoustic qualities all conditions within which the creative art of articulating the space has been brought down to minimum the exterior is experienced as an excess of a sort, used by the designers to exhibit their skill and the liberty to create something atypical. The already often mentioned construction proved a sound strategy here, which conceptually highlights the significance of individual elements and their importance in the functioning of the whole, connected to the purposes the building is intended for as well. A Contribution to Urban Planning. Housing has set the pace for the development and urban planning of Zagreb in recent decades, especially of its new parts, but this branch of architecture has not, neither back then nor today, resulted in buildings we could dub landmarks. Objects of symbolic significance for the city structure museums, theatres, sports halls, embassies, buildings dedicated to political and

administrative purposes have still not become part of the collective urban identity, but remain paper or computer ideas in most cases. The Cibona sports and business centre (Hri, Pitea, erbeti, 1985-86) was constructed in a location where it was easy to realize ideal citybuilding architecture, but despite this positive experience, many new city neighbourhoods actually prove the thesis launched long ago by Milan Prelog, regarding the growth of the city using the principles of piling up zones where one is only to dwell or only to work. The historic Zagreb downtown area has long been unable to meet the changing interests and habits of its citizens, who despite the deficiencies of urban areas seek new possibilities for expressing togetherness in space and time. The situation in Lanite could become an example of a venue conceived for spontaneous socialization, getting together in the open, at the intersection of different interests. The possibilities of utilizing the Arena for sporting, cultural, concert, conference and fair events, just like the fact that each of these events will bring this building to life, will make it a lighted organism, speak of the articulation of one city part which will surely set new criteria for valuation. Three footbridges connecting the building to a mall, by striding over a new street within Lanite, become a spacious public area, a zone for contacts where the rhythm of company and use will pulse in unison with the Arena. The authors of the architectural design from UPI2M have often emphasized in recent months the possibilities of architecture which stems from constructive concepts, while the beauty of created unusual form, already proclaimed a new Zagreb landmark, gives us the right to guess this sports facility will become one of the pivotal points of the citys identity.

19

503

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

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

9.500
KOLIINA ARMATURE U TONAMA QUANTITY OF REINFORCEMENT IN TONS

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

65.539
POVRINA PODOVA U KVADRATNIM METRIMA FLOOR SURFACE IN SQUARE METRES

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

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

montae fasadnih lamela / technology of the production and assembly of the facade ribs

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

prefabrikacija fasadnih lamela / the facade rib prefabrication

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

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

37

VISINA FASADNE LAMELE U METRIMA HEIGHT OF FACADE RIB IN METRES

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

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

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

1.000

MAKSIMALNI BROJ DJELATNIKA NA GRADILITU U JEDNOM DANU MAXIMUM NUMBER OF WORKERS AT THE CONSTRUCTION SITE IN ONE DAY

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

10
TORANJSKIH DIZALICA TOWER CRANES

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

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

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

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

izvedba krovne konstrukcije / contractor for the roof structure

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

izrada i predmontaa elemenata krovne konstrukcije / making and preassembly of roof structure elements

253

BROJ GLAVNIH ELEMENATA NOSAA KROVNE KONSTRUKCIJE NUMBER OF MAIN ELEMENTS OF THE ROOF CONSTRUCTION

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

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

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

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

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

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

Na gradilitu se montiraju sekcije krovne konstrukcije. Pojedina se os sastoji od 11 nosaa. Na gradilitu se predmontiraju segmenti od po 3 osi. Dakle, imamo 3 osi puta 3 elementa, a to je 9 to ini jedno polje, zbog dizanja. To polje je trodimenzionalno sloeno. Sve smo nosae geodetski snimali u pogonu da bismo ostvarili lagano zakrivljenu geometriju i poziciju pojedinih elemenata u prostoru. Bit je u tome da mi moramo po nacrtima potivati sve kote i mjerilo unutar milimetar ili dva i onda se dobiju mjere koje odgovaraju. The sections of the roof structure are assembled on-site. An indi vidual axis consists of 11 girders. At the site, segments of three axes each are pre-assembled. So we have three axes of three 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 E L KO F E R E K JA M B R E K , M P RO F I L D . O . O .

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

840

BROJ KROVNIH VJEALJKI NUMBER OF ROOF SUSPENSION CABLES

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

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

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

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

radovi krova / metal plating and insulation roofing works

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

48

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

8.760

POVRINA POLIKARBONATNIH FASADNIH PLOA U KVADRATNIM METRIMA SURFACE OF THE POLYCARBONATE FACADE ELEMENTS IN SQUARE METRES

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

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

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

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

i sustava usmjeravanja / visual identity and wayfinding system

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

919
UKUPAN BROJ PARKIRNIH MJESTA TOTAL NUMBER OF PARKING SPACE

300

PRIBLINA MASA POMONIH KONSTRUKCIJA U TONAMA APPROXIMATE MASS OF AUXILIARY CONSTRUCTIONS IN TONS

26

MAKSIMALNI BROJ REDOVA TELESKOPSKIH TRIBINA MAXIMUM NUMBER OF ROWS OF TELESCOPIC SEATING

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

Projekt ini niz zavisnih, meusobno integriranih projekata. To su projekti videonadzora, nadzora pristupa, projekt evidencije ulaska posjetitelja, protuprovalne i protuprepadne zatite, projekt sustava za dojavu poara i projekt detekcije CO. Preko jedinstvenog suelja upravlja se svim zavisnim projektima. Svi su sustavi integrirani tako da je u bilo kojem sluaju sve povezano i s evaku acijom i sa svim ostalim dogaajima nunim za sigurnost posjetitelja i objekta. Ba je zbog te integracije ovaj sustav jedinstven u Hrvatskoj, pa ak i u svijetu. The project consists of a number of dependent, integrated designs. These are video surveillance designs, access control, a design for registering visitor entry, anti-burglar and anti-intrusion protection, a fire alarm system plan and a CO detection plan. All the dependent projects are controlled via a single interface. All the systems are integrated in such a way that at any moment in time they are all connected with evacuation procedures and all the other events necessary for visitor and facility security. It is this integration that makes the system unique in Croatia and in fact in the world.
ST I P E BA L J K A S , P ROS P EC T U S D . O . O . ,

Tvrtka Soboli preuzela je konzalting poslove kompletnog osiguranja, od graevine u izgradnji, tj. gradilita i same izgradnje objekta, preko planiranja, projektiranja i nadzora izvedbe i funkcioniranja sigurnosnih sustava budue dvorane. Sam projekt osiguranja je multidisciplinaran. Budue osiguranje dvorane temeljit e se na ugraenim tehnikim sustavima zatite, no daljnju organizaciju osiguranja preuzet e upravljaki menadment dvorane. Za samu graevinu kao finalni proizvod definirali smo tehnoloke i sigurnosne procedure, odnosno protokole pristupa i kretanja u dvorani. Ideja vodilja projekta je sigurnost posjetitelja kao temeljna pretpostavka funkcioniranja sustava zatite na ovako sloenom objektu. Soboli has taken on the consulting of jobs of total security, from the building in the construction phase, i.e. the site and the actual building of the facility, via planning, designing and controlling the execution and functioning of the security systems of the future sports hall. The actual security project is multidisciplinary. The future security of the hall will be based on the security systems built in, but the further organisation of the security will be taken over by the management of the hall. For the building itself, as a final product we defined the engineering and security procedure, the protocols for accessing the hall and movement in it. The principal idea of the project is visitor safety, the basic precondition for the working of the security system in a building as complex as this.
VLADIMIR CELINAK, SOBOLI D.O.O.,

projekt tehnike zatite / surveillance and security system design

sustav sigurnosti / security system

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

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

design

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

projekt akustikog ureenja / acoustics design

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

interijerskih elemenata / interior design, contractor for interior elements

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

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

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

Croatian national handball team player

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

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

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

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

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

Popis podizvoditelja List of subcontractors

Adde Podne Obloge d.o.o. Karaika 22A, 10000 Zagreb dzagorac@armstrong.com ALU KON d.o.o. Goriica, Paukoveka cesta 23, 10382 D. Zelina komercijala@alu-kon.hr Aluferit graenje d.o.o. Petra Preradovia 111, Pitomaa aluferit@aluferit-gradjenje.hr AS interijeri d.o.o. Kladuka 3, 10000 Zagreb Basal d.o.o. Prisavlje 12, 10000 Zagreb basal@zg.t-com.hr Bili i Eri d.o.o. Lj. Posavskog bb, 10360 Sesvete bilic-eric@bilic-eric.hr Brodarski institut Av. V. Holjevca 20, 10000 Zagreb vladimir.koroman@hrbi.hr Carin d.o.o Orekovieva 1A, 10000 Zagreb info@carin.hr Cavarpayer d.o.o. Breenskoga 9, 10000 Zagreb ira@cavarpayer.com Contura d.o.o. Kralja Zvonimira 35, 34310 Pleternica contura@contura.hr Cro-basket d.o.o. Ilica 28, 10000 Zagreb crobasket@crobasket.hr Dajak-mont d.o.o. 1. gajniki vidikovac 10, 10000 Zagreb Damgrad d.o.o. Buanova 10A, 10000 Zagreb damgrad-sd@zg.t-com.hr Dechatlon 3 Timarchou Str, 11634 Atena, Grka dechatlon@dechatlon.gr Diringer&Schiedel d.o.o. Ivana Zajca 8, 47000 Karlovac Dulex d.o.o. Frankopanska 81, 42230 Ludbreg info@dulex.hr ani Keramika d.o.o. III Ravnice 10, 10000 Zagreb

Eccos d.o.o. I Pile 21, 10000 Zagreb dejan.cakija@eccos.com.hr Eheim Moebel Gmbh Friedrichsruher Str. 21, Ohringen, Deutschland klaus.frey@eheim-moebel.de Elan Begunje 1, 4275 Begunje na Gorenjskem, Slovenija miha.ster@elan.si Electrolux d.o.o. Slavonska Avenija 3, 10000 Zagreb tamara.rakovac@electrolux.hr Elektrometal d.d. Ferde Rusana 21, 43000 Bjelovar prodaja@elektrometal.hr Elektro-Vrata d.o.o. J.J. Srossmayera 153, 31000 Osijek Elkom d.o.o. Ivaneko naselje 1D, 42240 Ivanec habek@elkom.hr Ellabo d.o.o. Kamenarka 24, 10010 Zagreb ivica.zigulic@ellabo.hr ENEL d.o.o. Petrova 15, 10000 Zagreb v.kovacevic@enel.com.hr Enikon d.d. Veslaka 2, 10000 Zagreb luka.andrijanic@enikon.t-com.hr Eurokran d.o.o. Ventilatorska 9, 10250 Zagreb eurokran@zg.htnet.hr Euromax d.o.o. Radnika cesta 27, 10000 Zagreb FARBO INTERIJERI d.o.o. Merlinov put 4, 10090 Zagreb farbo.interijeri@zg.t-com.hr Fero-Term d.o.o. Bani 73B, Buzin zeljko@fero-term.hr Fugaplast d.o.o. A. enoe bb, Gola 48331 Funda d.o.o. Bana Josipa Jelaia 45, 10290 Zaprei info@funda.hr Gamont d.o.o. Primorska 8, 10000 Zagreb gamont@zg.t-com.hr

Geodetika d.o.o. Z. Furtingera 1, 10000 Zagreb Geo-Ing d.o.o. Pukarieva 77A, 10250 Zagreb petar.plahutar@geoing.hr Geokon Zagreb d.o.o. Starotrnjanska 16A, 10000 Zagreb geokon-zagreb@geokonzg.com Grasa d.o.o. Kalinovica 3, 10000 Zagreb grasa@grasa.hr Grgamont d.o.o. Sunekova 186, 10000 Zagreb grgamont@zg.t-com.hr GT Graenje Polet d.o.o. Livadarska 18A, 10340 Vrbovec HEP d.d. Ulica grada Vukovara 37, 1000 Zagreb Hunter Douglas Pierkstraat, 3071 Rotterdam, Netherlands s.kapetanovic@hunterdouglas.hr Intel Trade d.o.o. Dr. A Mandia 9, 51410 Opatija zg@intel-trade.hr Interijer d.o.o. Rakovac 39, 47000 Karlovac interijeri.franusic@ka.t-com.hr Invento Pro d.o.o. Av. Marina Dria 81B, 10000 Zagreb rina@invento-pro.hr IPRO Inenjering d.o.o. Trg Vladka Maeka 6, 10000 Zagreb ipro@ipro.hr Johnson Controls d.o.o. Andrije aje 10, 10000 Zagreb dominik.jakus@jci.com Jurcon projekt d.o.o. Gotaloveka 4A, 10000 Zagreb jurcon.projekt@inet.hr Klanji d.o.o. Obrtnika 1, 10431 Sveta Nedelja kresimir1@klanjcic.hr Klimaoprema d.o.o. Gradna 78A, 10430 Samobor gvuksan@klimaoprema.hr Lift Modus d.o.o. Joze Martinovia 7, 10000 Zagreb info@liftmodus.hr

Lumenart d.o.o. Veruda 60B, 52100 Pula skira@lumenart.hr Maestral GP d.o.o. Pod brezom odvojak 14, Vrhovak, 10430 Samobor info@maestral-gp.hr MD & V d.o.o. Okrugli vrh 50A, 40311 Lopatinec mdv@ck.t-com.hr M Profil Zabok Prilaz dr. Franje Tumana 11, 49210 Zabok m-profil@m-profil.hr Mdprofil INTRA d.o.o. Industrijska zona bb, 31400 akovo mknapic@mdprofil.hr METAL PROJEKT d.o.o. Grada Mainza 24, 10000 Zagreb Metalind d.o.o. Slavonska cesta bb, 43000 Bjelovar metalind@bj.htnet.hr Metalmania d.o.o. Nazorova 23, 10434 Oreje info@metalmania.hr MILJAK GRAENJE d.o.o. Vukovarska 178, 21000 Split miljak-gradjenje@st.hinet.hr MM-Plan d.o.o. Dunjevac 1, 10000 Zagreb MST d.o.o. Brae Radia 11, 10452 Donja Zdenina petar@mst-intersped.hr NOVA FORMA d.o.o. Selska cesta 72, 10000 Zagreb nova-forma@zg.t-com.hr OPIK d.o.o. Antuna Mihanovia 3, 10340 Vrbovec zeljko.pracaic@opik.hr Palmir d.o.o. S. Koutia 6, 10000 Zagreb palmir@palmir.hr Pastor Inenjering d.d. Novaka 2, 10437 Rakitje hrvoje.lovko@pastor-group.com Pavii interijeri d.o.o. Rumarinka 21, 10000 Zagreb pavicic@pavicic-interijeri.hr

Pavuin d.o.o. Cvetkovi 95A, 10450 Jastrebarsko vladimir.pavusin@pavusin.hr Podosjaj d.o.o. Ventilatorska 9, 10250 Zagreb podo.sjaj@kc.t-com.hr Podovi d.o.o. Trondheimska 4D, 21000 Split Polyester univerzal Predoveka 11, 10000 Zagreb info@brajdic-polyester.com Primakon d.o.o. Tratinska 1, 10000 Zagreb db@primakon.com Proklima d.o.o Talani 14, 10000 Zagreb proklima@proklima.hr Radio Moto d.o.o. Zvonimirova 122, 10000 Zagreb radio.moto@radio-moto.hr Robbins 4777 Eastern Avenue, Cincinnati, Ohio 45226 USA jvargas@robbinsfloor.com Roman d.o.o. Smodekova 12A, 10000 Zgreb rozman@zg.htnet.hr Senoh Corp. 2-2-13 Minami Shigahawa, Tokyo, Japan Signalinea d.o.o. Pul Vele Crikve 1, 51000 Rijeka signalinea@ri.t-com.hr Sim-gradnja d.o.o. Velimira korpika 3B, 10000 Zagreb ravagao@resinex.t-com.hr Soboli d.o.o. Budmanijeva 5/3, 10000 Zagreb soboli@soboli.hr Siteco Sistemi d.o.o. Trg Draena Petrovia 3/17, 10000 Zagreb r.sadaic@siteco.hr STS Metal d.o.o. Samoborska cesta 203, 10090 Zagreb strojoservis@strojoservis.hr Supervizija d.o.o. Rapska 37, 10000 Zagreb Tehnoguma d.o.o. CMP Savica anci, Obrtnika 1, 10000 Zagreb tgstil@tehnoguma-zg.hr

Tehnozavod Marui d.o.o. XIII Podbreje 26, 10000 Zagreb kresimir.marusic@tehnozavod.hr TL-Tome Lui d.o.o. Dr. Stanka Pinjuha bb, 49214 Veliko Trgovie info@tl-tome-lucic.hr Top-glazure d.o.o. II Plemiko 22, 10000 Zagreb TTI d.o.o. Kralja Kreimira 4B, 10430 Samobor d.safarik@tti-zagreb.hr UPI 2M d.o.o. Krajika 10, 10000 Zagreb tamara@upi-2m.hr V.D. GRAENJE d.o.o. Gradika ulica 20, 10000 Zagreb marina.vujic@vd-gradjenje.hr Vanguardia Consulting 21 Station Road West, Oxted, Surrey, Rh8, England office@vanguardiaconsulting.co.uk Veronica d.o.o. Martieva 23, 10000 Zagreb veronica@veronica.hr Viessmann d.o.o. Luje Naletilia 29, 10000 Zagreb tuv@viessmann.com Wagner Biro Austria Stadlauerstrasse 54, Wiena, Ostereich harald.poeschel@waagner-biro.com Zakladani staveb d.o.o. II Cvjetno naselje 19, 10000 Zagreb Zatitni sustavi Zagreb d.o.o. Heinzlova 53A, 10000 Zagreb zlatko.videc@email.t-com.hr Zavod za elektroakustiku, Fakultet elektrotehnike i raunarstva Sveuilita u Zagrebu Unska 3, 10000 Zagreb zea@fer.hr

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Arena Zagreb The Zagreb Arena

Nakladnik / Publisher
I N G RA D . D .

Alexandera von Humboldta 4b, Zagreb, Hrvatska / Croatia Copyright

I N G RA D . D .

Za izdavaa / For the publisher

IGOR OPPENHEIM

Glavni urednik / Editor

M A ROJ E M R D U L JA

Urednitvo / Editorial board

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

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

Suradnica urednika / Assistant editor

M A RTA K I

Lektura i korektura hrvatskih tekstova / Lecture and proofreading of Croatian texts

M A JA T R I N A J ST I

Prijevod na engleski / English translation

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

Lektura i korektura engleskih tekstova / Language editing and proofreading of English texts
N I C K SAY W E L L

Obrada fotografija / Colour editing

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

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

Naklada / Print run

2000

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