napisao
written by
Maroje Mrduljaš
zpc: case-
study za
donjogradski
blok
¶ Zanimljiva zagrebačka scena suvremenog plesa i izvedbenih
umjetnosti s dugom tradicijom napokon je dobila uvjete za
kvalitetan rad. Smješten u nutrini nevelikog dvorišta stotinjak
metara udaljenog od glavnoga gradskog trga, Zagrebački ples­
ni centar nastavlja se na tradiciju većine zagrebačkih kazališta
i već bivših kina u centru grada, koja na različite načine koriste
unutrašnjosti blokova kao svoj prirodni okoliš isprepleten s
enformelom gradskog tkiva. Dvorišta i prilazi kazalištima ne­
konvencionalni su foajei na otvorenome, ne­monumentalna i
spontana proširenja kulturnih institucija koja se aktiviraju
prigodom predstava, ali udomljuju i druge scenarije urbanog
života. Takav je slučaj i sa ZPC-om koji je, uz dosta pro­jek­
tantskog napora 3LHD-a, udomljen u derutno tijelo zgrade
arhitekti
architects
3LHD – Silvije Novak, Zorislav Petrić, Romana Ilić, Saša Begović, Goga Butković, Marin Mikelić, Tanja Grozdanić Begović, Marko Dabrović, Jasminka Jug,
Koraljka Mandarić, Dijana Vandekar
66 Zagrebački plesni centar, Zagreb, Hrvatska
fotografije photographs by Lana Cavar (LC)
Sandro Lendler (SL)
ZPC: The
Case Study
for a Lower
Town Block
¶ The fascinating and well-established scene of contemporary
dance and performing arts in Zagreb has finally obtained ade­
quate working conditions. Located inside a relatively small
courtyard, about a hundred metres from the main city square,
the Zagreb Dance Centre (ZPC) continues the tradition of
most Zagreb theatres and former cinemas in the centre, using
the courtyards of the blocks in different ways as their natural
environment, interwoven with the ‘informal art’ of the city
tissue. Courtyards and theatre patios are unconventional out­
door foyers, non-monumental and spontaneous additions to
cultural institutions, which come to life during performances,
but also host other scenarios of urban life. Such is the case of
ZPC, which has been housed in the dilapidated building of Kino
Zagreb Dance Centre, Zagreb, Croatia (LC) 3LHD, Zagreb Dance Centre

(sl) bivšeg kina Lika. ¶ Javni prostor dvorišta nije posebno raskošno
dizajniran, nego je tek elementarno uređeno slojem novog
asfalta i jednostavnim klupama, pri čemu je dužna pažnja
posvećena očuvanju postojećih stabala. Integralni dio arti­ku­
la­cije otvorenog prostora je i razrada ‘ambijentalne signa­li­
zacije’, koju potpisuju Lana Cavar i studio Linked by Air. Gra­
fičke intervencije u parteru najavljuju prisutnost ZPC-a već u
Ilici, a kao dio integralnoga vizualnog identiteta provlači se
kroz dvorište do svih elemenata interijerske signalizacije. Taj
jednostavan i nenametljiv dizajnerski projekt razlikuje se od
većine vizualno agresivnih elemenata urbane signalistike jer
nema nagovaračku funkciju – neće sam dizajn privući pos­je­
titelja u ZPC, nego on treba označiti mjesto i estetski se nado­
vezati na koncepciju projekta. ¶ U samom dvorištu vlada po­
nešto komorna atmosfera jer nema praktički nikakvih javnih
sadržaja, a i sama zgrada ZPC, koja zatvara stražnji perimetar
bloka podno Griča, jest prema eksterijeru sasvim zatvorena.
Tri plesna studija s pratećim sadržajima smješteni su unutar
prilično skučenoga gabarita kinodvorane. Bivši ulazni prostor
i stubište zamijenjeni su jedinom eksterijerskom novom struk­
tu­rom – čeličnim kontejnerom u kojem je sklop s javnim pros­
torima: foajeom, stubištem i galerijom. Kontejner se razmata
68 oris, broj 63, godina 2010
od partera dvorišta, priljubljuje i puže uza zgradu da bi se staircase and the gallery. The container unfolds from the
‘za­ka­čio’ na njenu krovnu terasu i oblikovan je tako da se ne­ ground level of the courtyard, adheres to the building and
dvos­­misleno čita kao autonomni, skulpturalni element s raz­ crawls upwards to ‘hang’ on the roof terrace, its shape unam­
lom­ljenom, zakošenom geometrijom, koja se jednako čita i u biguously signalling an autonomous sculptural element with
interijeru i u eksterijeru. Uvjerljivost i sugestivnost forme sva­ a fragmented oblique geometry that sends the same message
kako treba pripisati i 3LHD-ovim istraživanjima kompakt­nih indoors and outdoors. This persuasive and suggestive shape
slobodnih oblika. No, oblik i dispozicija kontejnera bitno su should also be attributed to 3LHD’s exploration of compact
određeni i urbanističkim uvjetima i njegovim ‘izmicanjem’ od free forms. But the form and arrangement of the container
otvora na susjednim zgradama. ¶ Pod foajea je lagano za­košen, are significantly conditioned by site urbanistic conditions and
vanjski gabariti i otvori također slijede neortogonalnu geo­ by its retracting from the openings of adjoining buildings.
metriju, pa prostor teče u sve tri dimenzije uza staru zgra­du, ¶ The floor of the foyer is slightly slanted, with the outside
čiji je zid i u interijeru ožbukan. Primijenjena su low-tech rje­ dimensions and openings also following non-orthogonal
šenja, ‘grubi’ materijali poput perforiranih i rastegnutih me­ geometry, which makes the space flow in all three dimensions
talnih ploča/mreža i distorzirana geometrija, što sugerira along the old building, where the wall is plastered even
‘ra­di­kalnu estetiku’ blisku eksperimentalnom duhu scene suv­ indoors. They applied low-tech solutions, ‘rough’ materials
re­­menih plesnih i izvedbenih umjetnosti. Detaljiranje i izvedba such as perforated and stretched metal plates/meshes and
pak pokazuju projektantsku koncentraciju i preciznost, a po­ distorted geometries, suggesting ‘radical aesthetics’ similar
jedina rješenja, poput zastora koje je oblikovao studio I-gle, to the experimental spirit of the contemporary dance and
doprinose sofisticiranom dojmu. Same dvorane – glavna s performing arts scene. But the details and realization reveal
teleskopskim tribinama i dvije za vježbe i probe su zajedno s the concentration and precision of the architects; certain
pratećim sadržajima organizirane kao jednostavni i kom­paktni solutions, like the curtain designed by the studio I-gle, con­
trodimenzionalni sustav. Naročito je lijepa ‘bijela dvorana’ sa tribute to the sophisticated impression. The halls themselves
zenitalnim osvjetljenjem i pogledom koji se otvara prema oze­ – the main hall with retractable stands and two practice halls (sl)
Lika, a former cinema, thanks to a big effort by the architectural
practice 3LHD. ¶ The public space of the courtyard has not
been designed in a particularly lavish way; there is only a basic
arrangement, with a fresh layer of asphalt and simple benches,
carefully preserving the trees. An integral part of the outdoor
setup is the arrangement of ‘ambient signs’, made by Lana
Cavar and the studio Linked by Air. Graphic interventions on
the pavement announce the presence of ZPC from the street
of Ilica, continuing through the courtyard as a part of the
integral visual identity, and affecting all the indoor signs. This
simple and unobtrusive design differs from most visually
aggressive urban signs because it does not try to persuade –
instead of attracting visitors to ZPC, the design intends to
mark the venue and aesthetically complement the overall
concept. ¶ The courtyard itself has a somewhat intimate
atmosphere: there are virtually no public contents, since the
ZPC building, closing the back perimeter of the block under
the slope of Grič, is completely closed to the exterior. Three
dance studios with auxiliary contents are located within the
modest dimensions of the former cinema. The former lobby
and stairway have been replaced by a new outdoor structure,
a steel container with the public premises – the foyer, the
oris, number 63, year 2010 3LHD, Zagreb Dance Centre 69
 tlocrt galerije tlocrt terase

gallery plan terrace plan

(sl)

presjek tlocrt prizemlja tlocrt kata

section ground floor plan floor plan

situacija presjek

site plan section

70 oris, broj 63, godina 2010 oris, number 63, year 2010 3LHD, Zagrebački plesni centar 3LHD, Zagreb Dance Centre 71
 lenjenom brežuljku. Ta dvorana ujedno je i direktno po­ve­zana
s eksterijerom, što je čini i najugodnijim prostorom cije­log
sklopa. Mogućnost povezivanja glavne dvorane s ma­njom dvo­
ranom za vježbe, koja time postaje galerija, jest pak s čisto
funkcionalnog stanovišta upitna jer se ne ostvaruje očigledno
(sl) upotrebljivi prostorni međuodnos. ¶ Potpuna zatvo­renost kon­
­tejnera-foajea provocira pitanje: nije li se trebao ostvariti ne­
posredniji kontakt interijera s dvorištem/trgom? No, jače
rastva­ranje kontejnera staklenim plohama narušilo bi integritet
forme, a prikazivanje povremenih dešavanja u ulaznom pros­
toru ne bi bitno doprinijelo dinamičnosti dvo­rišne scene. Ta­
kođer, foaje posjeduje svoju autonomnu pros­tornu kvalitetu
čemu doprinose zanimljivi prodori svjetla pri­puštenog kroz
slobodno razmještene proreze u kontejneru. Teoretski, s obzi­
rom da postoji i bočni ulaz prilikom premijera ili drugih do­
gađanja, ostvariva je ‘kružna veza’ kroz foaje, no isključena je
mogućnost da se dvorište i foaje povežu u je­dinstve­ni prostor
što, uostalom, sugerira i tretman partera koji je i materijalom
i nagibom artikuliran kao produžetak jav­nog prostora. No,
aktiviranje nutrine bloka nikako ne znači da interpolirana
događanja moraju biti i sasvim direktno vizu­al­no ili fizički
povezana, a sasvim je legitimno da je foaje intro­ver­tan ako je
artikuliran kao zanimljivi ambijent. Jedno od mo­gućih jed­
nostavnih rješenja problema ‘slijepe’ ulazne fron­te kon­tejnera
bilo bi njegovo‘prelijevanje’ u neku vrstu urbanog mo­bilijara.
¶ Odista poetična situacija ostvarila bi se otva­ranjem dvorana
za probe gdje bi plesni događaji postali dio scene dvorišta, čime
bi odista profitirali i interijer i eks­te­rijer, no ekstremna skučenost
i konstrukcijski problemi sprije­čili su tu mogućnost. Svakako
je dobro što je zadržana krovna terasa ljetnog kina, ne samo
72 oris, broj 63, godina 2010
with auxiliary contents – are organized as a simple and com­
pact three-dimensional system. The ‘white hall’ is parti­cularly
beautiful, with its overhead light and the view of the green
slope. Moreover, since this hall is directly linked with the
exterior, it is the most pleasant part of the entire complex. On
the other hand, the possibility to connect the main hall with
the smaller practice hall, turning the latter into a gallery, is
questionable from a purely functional aspect, since it does not
achieve a clearly usable spatial relationship. ¶ The utter close­
ness of the foyer/container begs the question if there should
have been a more direct contact of the interior with the court­
yard/square. But a greater opening of the container by glazing
would spoil the integrity of the form; the occasional events in
the lobby would not make the courtyard scene much more
dynamic. Furthermore, the foyer has its autonomous spatial
quality, which is enhanced by interesting light entering
through randomly placed slits in the container. Theoretically,
since there is also a side entrance, the foyer could have a
‘circular connection’ in cases of premieres or other events, but
the courtyard and the foyer cannot be merged in a single space,
as indicated by the pavement treatment, where both its ma­
terial and slope are shaped as a continuation of the public
space. However, when the interior of the block is made alive, kao podsjetnik na taj već gotovo zabo­ravljeni oblik urbanog revitalizing a block does not mean stifling it – instead, blocks (sl)
it does not mean that interpolated events should be linked života, nego i kao još jedan otvoreni prostor koji mo­že biti can be filled, but also become calmer parts of the city. We are
visually or physically in a very direct way; it is quite legitimate iskorišten na različite načine. Je li on trebao postati svima i yet to develop the culture of living in the heart of the block,
to have an introverted foyer if it is conceived as an interesting uvijek dostupan produžetak otvorenoga javnog pros­tora, mož­ as a calmer counterpoint to the density found in the rituals of
setting. One of the possible simple solutions for the problem da povezan i s parkovnim uređenjem obro­naka Griča, drugo je the showy stretch of Bogovićeva Street. ¶ It should be kept in
of the ‘blind’ front of the container would be its ‘outpouring’ pitanje. ¶ Očito je da je odabrana zgrada postavljala mnogo mind that the adaptation of Kino Lika into ZPC belongs to a
into a kind of urban furniture. ¶ A truly poetic scene would ograničenja iako se nametnula i kao logičan odabir zbog vlas­ wider programme of renovating movie theatres owned by the
result from opening the practice halls, where dance events ničkih okolnosti, lokacije i memorije prema pret­hod­nom sadr­ privatized company Kinematografi, which was undertaken by
would become a part of the courtyard scene, improving both žaju. No, program se nije mogao raz­viti u opsežni­jem ga­baritu the Zagreb Office for Culture in the early 2000s. That process
the interior and the exterior, but this possibility was prevented od onoga zatečenoga što bi otvorilo mogućnosti za ostvariva­ resulted in the renovation of Kino Apolo, now used by the
by the extreme lack of space and structural issues. It is nje dodatnih arhitektonskih kvaliteta. Planirano ko­loniziranje Histrioni theater company and also designed by 3LHD. The
certainly good that the roof terrace of the outdoor cinema has seg­menata susjednih kuća sigurno bi pridonijelo i boljoj funkci­ destiny of former cinemas and their Lower Town courtyards
been preserved, not only as a reminder of an almost forgotten onalnosti same intervencije i živosti samog dvo­rišta. No, revi­ was also analyzed through the study of the enlargement of
form of urban life, but also as another outdoor space that can talizacija bloka ne znači i njegovo zagušenje nego, upravo sup­ Kino Zagreb in the Flower Square block, where Produkcija 004
be used in various ways. The question remains whether it rotno, oni mogu postati sadržajni, ali i mirniji gradski ambijenti. made an interesting project. Therefore, a decade ago, general
should have become an addition to the outdoor public space, Tek treba razviti kulturu života u unut­raš­njosti bloka kao smi­ plans were made for a relatively consistent reconstruction of
available to everyone at all times, maybe linked to the park on renijeg kontra­punkta gustoći kakvoj sus­rećemo u ritualima former cinemas, which could have been a part of a sustainable
the slopes of Grič. ¶ Obviously, the chosen building caused estradne ‘špice’ Bogovićeve ulice. ¶ Tre­ba podsjetiti da je pre­ scenario to renovate and develop blocks, precisely because it
many restrictions, although it was the logical choice because namjena kina Lika u ZPC dio cje­lo­vitog prog­rama ob­nove kino­ initiated a productive discussion between the city authorities,
of its ownership, location and memories of prior contents. But dvorana u vlasništvu pri­vati­ziranog Kinematografa oko kojeg major figures of the cultural scene and architects with their
the programme could not be developed on a more compre­ se angažirao Gradski ured za kulturu Gra­da Zagreba početkom proposals. The interventions were sporadic, but they could
hensive scale than the old one, which excluded the possibilities dvijetisućitih. Taj proces je rezultiralo i u obnovi kina Apolo, have become the basis for the development of a decentralized
of creating added architectural value. The planned colonization koje danas koristi kazališna družina Histrioni, a taj je zahvat network of public cultural contents in the Lower Town,
of segments of neighbouring houses would certainly make for također projektirao 3LHD. Sudbina bivših kina, pa time i do­ defining its identity and socio-economic future in clearer
a more functional intervention and a livelier courtyard. But njogradskih dvorišta ana­lizi­rana je i studijom proširenje kina terms. But the city obviously did not have enough strength or
oris, number 63, year 2010 3LHD, Zagrebački plesni centar 3LHD, Zagreb Dance Centre 73
 Zagreb u Cvjetnom bloku za što je zanimljiv projekt izradila
Produkcija 004. Dakle, prije desetak go­dina razmatrana je raz­
mjerno konzistentna namje­ra re­konst­ruk­cija bivših kina što je
mogao biti dio održivog sce­narija za obnovu i razvoj blokova
upravo zato jer je u toj ini­cijativi došlo do produktivnog raz­
govora gradskih vlasti, pro­tagonista kulturne scene i arhiteka­
ta sa svojim prijedlozi­ma. Iako su to bile točkaste intervencije,
one su mogle poslu­žiti kao podloga za razvoj decentralizirane
mreže javnih kul­turnih sadržaja u Donjem gradu čime bi se
jasnije definirao i njegov identitet i socio-ekonomska bu­duć­
nost. No, Grad oči­to nije imao snage, a vjerojatno ni interesa
da takav scenarij u cijelosti provede i razvije do razine urba­
nističkog modela. Važ­no je znati da su protagonisti nezavisne
kulturne scene počeli napušteno i neuređeno kino Lika koristili
još od 2001. i tako vjerno demonstrirali njegove potencijale.
Naravno da to nije samo po sebi sačuvalo taj prostor od dru­
gačijeg razvoja situ­acije (primjer tomu je neizvjesna sud­bina
bloka Badel), ali su nezavisne inicijative napuštenom kinu Lika
priskrbile određeni simbolički kapital i konkretne argumente
o potrebi njegovog stavljanja u javnu i kulturnu funkciju.
¶ Nači­ni korištenja i održivost institucije tipa ZPC-a tek treba
biti provjerena kroz kulturni menadžment aktera kojima je ona
povjerena na uprav­ljanje. Također, na ZPC će utjecati i dinamike
same scene izvedbenih umjetnosti, ali i kulturne politike na
razini grada i države. U tom smislu scenarij revitalizacije Do­
njeg grada kroz kulturne sadržaje je nedjeljiv od sposobnos­ti
protagonista kulturnog života da se i programski i financijski
skrbe za te prostore, a jasno je da urbanizam sam po sebi nije
garancija uspješnosti takvih strategija. Nadajmo se da će i
drugi prijed­lozi za obnovu blokova koji su upravo u procesu
projektiranja, poput proširenja Akademije likovnih umjetnosti,
doživjeti svo­ju realizaciju i pokazati sve potencijale pre­obli­
kovanja blo­kovske strukture u društveno koristan i socijalno
sti­mu­lati­van okoliš.
Zagrebački plesni centar, Ilica 10, Zagreb, Hrvatska
Zagreb Dance Centre, Ilica 10, Zagreb, Croatia
autor author
arhitektonski ured architectural office
projektni tim project team
investitor client
površina parcele site area
izgrađena površina built up area
neto površina net area
projekt project
realizacija completed
cijena costs
74 oris, broj 63, godina 2010
interest to fully realize such a scenario and upgrade it into an
urban planning model. Significantly, the independent cultural
scene started using the abandoned and unadapted building
of Kino Lika in back in 2001, clearly showing its potential. Of
course, that would not be enough to save the premises from
a different development (as shown by the unclear future of
the Badel block), but independent initiatives in the abandoned
Kino Lika provided a certain symbolic capital and concrete
arguments for the need to make it publicly and culturally
useful. ¶ The methods of use and the sustainability of an
institution like ZPC are yet to be verified through the cultural
management of those who have been entrusted with it.
Further­more, ZPC will be affected by the trends of the per­
forming arts scene, but also by the cultural policies of the city
and the state. In that sense, the scenario for revitalizing the
Lower Town through cultural contents cannot be separated
from the ability of the major cultural figures to take care of
the contents and finances of those premises. Clearly, urban
planning alone cannot guarantee the success of such strate­
gies. Let us hope that other proposals for the renovation of
blocks which are being designed right now, such as the
enlarge­ment of the Academy of Visual Arts, will be constructed
and will reveal all the potentials of adapting block structures
into socially useful and motivating surroundings.
3LHD
3LHD
Saša Begović, Marko Dabrović, Tatjana Grozdanić Begović, Silvije Novak,
Jasminka Jug, Zorislav Petrić, Željko Mohorović, Dijana Vandekar, Marin Mikelić
Grad Zagreb / City of Zagreb
1 360 m2
1 438 m2
1 130,21 m2
2003
2009
nedostupna / undisclosed
oris, number 63, year 2010 (sl) 3LHD, Zagreb Dance Centre 75