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Penezic & Rogina: Works = radovi

Penezić & Rogina: Works = radovi Vinko Penezić & Krešimir Rogina Grafička mapa Naklada 50 primjeraka Signatura autora na svakom graf. listu d.d. olovkom: VPenezić K. Rogina '92; l.d. olovkom: numeracija; s.d. naslov prikaza. - Grafički listovi formata 103 x 703 mm Mapa je u zaštitnom omotu Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat Uključuje i knjigu - Feđa Vukić: 30 do 30 (30 to 30)
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Stjepan Planic: Problemi savremene arhitekture

Stjepan Planić: Problemi savremene arhitekture Zagreb, 1932. 23x31 cm 240pp Tvrdi uvez In Planiæ's practice of building detached houses on hills and green slopes of woodlands of the Sljeme, the regulation defining that living spaces should be looking on the street, opening the possibility of a representative façade, and the utility spaces at the back of a house, proved to be senseless and unreasonable. One of his earliest projects, a house in Jabukovac, will from that time on serve as an example of an architect's victory in his endeavours to create architecture "intended for the better life of man". Planiæ's belief in humanistic principles of the modern architecture, his persistence in the struggle to realise them and the strength of his argumentation, with considerable quantity of his personal charm, won him the triumph in confronting the regulations. It would "in the future be the aim of progress, not an obstacle." He spoke of this optimistic delusion of his, from that time, on the occasion of receiving the Life Achievements Award "Vladimir Nazor" in 1968. "The struggle for the modern is not yet won." The drawings accompanying Planiæ's projects during the interwar period witness of his personal friendship with a distinctive and a great painter Ernest Tomaševiæ, who graphically designed a number of Planiæ's articles, exhibitions and competition works. Planiæ's opus, with 700 projects and realisations, as far as we know, belongs to the most numerous and is also one where family houses prevailed around which he designed gardens. In the most individual and authentic manner he applied the vocabulary of the two idioms of the contemporary architecture - the international functional and the regionally organic. Combining the two on a structural level he created works (the stereometrically pure Round Villa in Gornje Prekrižje, the Tomislav Mountaineers Home of an Y- layout from the thirties and the cube-house from the fifties), which are anthology examples of the 20th century art memorials, as well as of the entire Croatian architecture. My assumption is that the Zagreb School of modern architecture managed to realise syntheses hard to find elsewhere, primarily in the works of Drago Ibler and Stjepan Planiæ. I believe that when explaining the Zagreb school of modern architecture, as we call it, it would be proper to apply a thesis of Ljubo Karaman, our local art historian of "creating the freedom of a peripheral environment", instead of inappropriately importing hypotheses pertaining to literature and ideology. It can explain the specificity of Ibler's and Planiæ's opuses in an infinitely more objective and convincing manner, even of the Zagreb school of modern architecture as a whole. As distinguished from a provincial milieu adopting norms and imitating solutions of great centres, Karaman believes a peripheral milieu to be the one sufficiently distanced from more powerful cultural centres (and norms and dogmas dominating them) and according to him Croatia is a typical country suited to this notion. It offers an artist greater freedom of creation, without respect for the sometimes-rigid criteria ruling great centres and power-focuses, gives him a chance to draw from two or more sources and to make creative synthesis in auspicious moments. In the earlier mentioned Stjepan Planiæ's book just about every published example is of a building ending with a living terrace and a flat roof, it is almost a manifesto. These were the common qualities of the represented projects and works. Perhaps at the time they displayed the most expressive mark of distinction from the historical, particularly the historicism architecture of roofs and metal domes of Zagreb. Stjepan Planiæ, speaking in a documentary from 1978, standing on a terrace of a multi-storey building in the Petriæ's Street 5, on the so-called “Zakladni blok” in the heart of Zagreb, designed by himself, alluded to the continuity of forms and to the significance of a terrace in the architecture of ancient civilisations and not to the paragons of contemporary building. Gesturing towards the tin dome of the First Croatian Savings Bank building, the popular Octagon, he said: "All these roofs, all these domes were the composition equipment of the preceding generation, which was then called great architecture. Driven by an aspiration to bring gardens into the centre of the city, to offer a man in urban environment a commodity of a meadow, brook, or a forest, we realised them on terraces where they blossom even today. The hanging gardens of the Queen Semiramis are not a dream, this terrace realised 40 years ago proves that, it literally realises a connection between a man and the juices of nature." "To organise life…" as Planiæ often repeated, did not mean to impose solutions, but to creatively answer the demands of life and harmoniously resolve human needs within the architectonic space. Besides writing (to begin with a book for adults "Problems of Contemporary Architecture," from 1932, to "Culture of Living," from 1985, intended for children) Planiæ wanted to effect immediate influence on individuals and small family communities. For that, he would always find time. "Three Letters on Housing" were just an example and a pattern, a drop in the ocean of talks and interpretations that Planiæ had led with the people he built houses for or with those who wanted him to design a home for them. During the seventies I often drove Planiæ on his tours of construction sites and the adaptation of my terrace apartment was taking place at that time, too. I observed a relationship of true respect and absolute obedience on the part of his craftsmen, regardless of whether they worked with him for forty years or had been engaged only recently. It was rather unusual, since in his designs and in his demands on craftsmen Planiæ always went further, often demanding new, bold and uncommon procedures. Construction carriers designed by Planiæ would, as a rule, be more slender than others were, his windows were bigger (not to mention that they were of better proportions) than those in the neighbourhood. He often "broke" the regulations of dimensioning (excessive, as a rule, due to safety precautions). He defined them according to proportions, according to the formative criteria of the whole. For example, a board of reinforced concrete of a balcony usually appears thickset and in the Round Villa (1936), the round balcony board girding three quarters of the cylindrical body of the villa is deeply protruded into space, boldly thin, elegantly elevated in space. "It even vibrates a little," commented Planiæ. That was the earliest example I can recall. In his inexhaustible creativity he always made room for something new, ranging from the use of building materials and construction to the formation. It was particularly evident in the organisation of space, which he kept returning to in his later projects, most often dealing with a dynamic play in connecting of different levels within a flat.
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Skopje: Potres / EarthQuake 26.07.1963.

Skopje: Potres / EarthQuake 26.07.1963. Skopje: 26.07.1963. Potres. Luksuzno izdanje, napravljeno za državnike i diplomaciju. Mekana, fina koža.
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Ivan Picelj: Vizionarna arhitektura

Ivan Picelj: Vizionarna arhitektura Plakat za izložbu "Vizionarna arhitektura" u Muzeju za umjetnost i obrt. Tiskano u 5 boja (plava, narančasta, crvena, zelena, svj. siva) na bijelom papiru. Plava pozadina. Krugovi ucrtani jedan u drugi, raznih boja. U zagrebačkom muzeju za umjetnosti i obrt 1963. godine održana je izložba Vizionarna arhitektura u organizaciji moma-e iz new Yorka. na izložbi je bio prikazan niz projekata iz raznih razdoblja, sveukupno stotinjak djela na panoima podijeljenima u nekoliko kategorija: 1. zgrade čiji oblici predstavljaju neku vrstu odredišta, 2. linearne, “putujuće” strukture, 3. zgrade složenih 'mitoloških' oblika. dio izloženih projekata bio je inspiriran organskim svijetom i evolucijom oblika. Uz izložbu je otisnut manji katalog.
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Penezic & Rogina: Staklena kuća

Vinko Penezić & Krešimir Rogina Staklena kuća za slijepog čovjeka Diptih: Uzdužni presjek + Poprečni presjek Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat
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Penezic & Rogina: Luc promjene

Vinko Penezić & Krešimir Rogina Luč promjene (Stil 2001.) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat
4.500,00 kn

Penezic & Rogina: Luc izbora

Vinko Penezić & Krešimir Rogina Luč izbora (Galerija H&C) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat
4.500,00 kn

Penezic & Rogina: Luc sjecanja

Vinko Penezić & Krešimir Rogina Luč sjećanja (Dom kulture u Zagrebu) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat
4.500,00 kn

Penezic & Rogina: Luc igre

Vinko Penezić & Krešimir Rogina Luč igre (Bazen u Zagrebu) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat
4.500,00 kn

Penezic & Rogina: Luc izoblike

Vinko Penezić & Krešimir Rogina Luč izoblike (Bazen u Dubrovniku) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat
4.500,00 kn

Penezic & Rogina: Luc mjesta

Vinko Penezić & Krešimir Rogina Luč mjesta (Crkva u Dubrovniku) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat
4.500,00 kn

Penezic & Rogina: Luc vremena

Vinko Penezić & Krešimir Rogina Luč vremena (Ljetna pozornica u Zagrebu) Signed and numbered Edition 50 103 x 703 mm Zagreb 1992. Screenprint / sitotisak Atelier Brane Horvat
4.500,00 kn

Belgrade. Formal/Informal: A Research on Urban Transformation

Belgrade. Formal/Informal: A Research on Urban Transformation ETH Studio Basel Contemporary City Institute [Editor] By Roger Diener, Marcel Meili, Christian Mueller Inderbitzin Scheidegger and Spiess, 2012. Hardcover Design Ludovic Balland. ETH Studio Basel, an institute of urban research, undertakes projects that explore the evolution of the contemporary city, looking specifically at how cities transform over time and interact with material space. Belgrade. Formal / Informal presents the fascinating findings of ETH Studio Basel’s research in the former Yugoslavian and now Serbian capital, investigating in particular the city’s development following the international embargo against the Milosevic regime after the Yugoslavian wars of separation in the 1990s until the present day. This richly illustrated book explores in depth how Belgrade has changed throughout years of upheaval and economic shortage. It shows the result of the interplay between guided and accidental urban planning and construction and the varied architecture that has emerged from this. In essays by architects and urban planners, Belgrade is presented as an example of how contemporary cities develop in an increasingly global community. Of interest to architects and planners, Belgrade. Formal / Informal provides a model of how cities spatially adapt to the constantly expanding needs of their inhabitants.
2.500,00 kn

Hermann Bollé: Kemijski laboratorij

S potpisom Hermana Bollea iz 1883. godine. Fotografja (23x17cm) na kartonu (33x25cm). Kemijski laboratorij - Strossmayerov trg, Zagreb - Entwurf Fur Neue Chemische Laboratorium in Agram.
1.500,00 kn

Nikola Dobrovic: Savremena arhitektura 1-3

Vlastita naklada iz 1952. godine. Uvod, istorijski deo, novi pravci, savremena bezornamentalna arhitektura, pokreti u slikarstvu i njihov uticaj na razvoj arhitektonske misli. Stanje - antikvarno odlično.
1.000,00 kn

Vera Horvat Pintaric: Vjenceslav Richter

Monografija o Vjenceslavu Richteru. Dvojezično izdanje, hrvatsko - englesko. Iz pera Vere Horvat Pintarić, iznimne pozavateljice povijest
1.000,00 kn

Bruno Munari: the MC 1 Architecture Box

Bruno Munari: the MC 1 Architecture Box Originally produced in 1945, the MC 1 Architecture Box - New Edition contains a series of “bricks” of different shapes. Put together differently, you can make any number of buildings, from houses to churches, ancient castles to modern garages, hotels, skyscrapers, factories, towers, aqueducts, temples, stations, hangars, pile dwellings, houses with porticoes, balconies, terraces, and so on. The attached booklet contains over sixty examples which can be multiplied by the imagination of whoever is playing with them, just some of the infinite constructions that can be build. The MC 1 Architecture Box - New Edition is made of cardboard. This new edition features “bricks” made of unhewn beechwood. Dimension: 43.0 x 13.0 cm Languages: Italian and English texts 1st edition: 10/2018 Edition: 10/2018 Corraini Editions, Mantova / Italy
850,00 kn

Ivan Vitic

Ivan Vitić (1918.-1986.) Vizit karta i čestitka za Novu godinu 1962. Sitotisak Vizit karta 10,5x6 cm Čestitka 9,5x20,5 cm Graduated from the Faculty of Engineering in Zagreb he worked as an assistant at the Department of Architectural Composition from 1941 to 1943. He was involved into political decision of space planning as he worked for the Ministry of Construction of the Republic of Croatia (1945 - 1946), and for the Ministry of Foreign Affairs of the Socialist Federative Republic of Yugoslavia (1947 - 1950). He was an architect of such important and mighty buildings as the National Bank Residential Block in Zagreb (where the renovation has come almost too late), the Ex Hall of the Yugoslav Peoples Army (converted into the Public City Library) in Šibenik, the Community Hall in Komiža (ex military home) or Pavilion Nr. 40 at the Zagreb Fair (today neglected and altered in appearance by an extension). These four projects, which could and should find their place in every relevant survey of European architecture of the 1950s and 1960s, represent the peaks of a life achievement rich with projects and realizations – intensive and consistent, auto-referential and innovative.
750,00 kn

Vjenceslav Richter : Muzej Revolucije, Beograd

Vjenceslav Richter - Tekstovi, nacrti, fotografije projekta Muzeja Revolucije Naroda i Narodnosti Jugoslavije - Muzej Revolucije Beograd
400,00 kn

Jevta Jevtovic, urednik: Walter Gropius: Buildings, Plans, Projects 1906-1969

Walter Gropius: Buildings, Plans, Projects 1906-1969 (Građevine, planovi, projekti 1906-1969). Rijetko u ponudi, katalog za izložbu Waltera Gropiusa iz 1972. godine, Muzej primenjene umetnosti, Beograd. Dizajn Nikola Masniković i Branko Subotić. Walte
350,00 kn

Bruno Zevi: Povijest moderne arhitekture 1

Bruno Zevi: Povijest moderne arhitekture 1 - Od Williama Morrisa do Alvara Aalta : prostorno - vremensko istraživanje. Kao što je poznato, kriza modernoga pokreta, što se proširila počevši od 1955., poklopila se s mnogo većim nevoljama, egzistencijalnim i
350,00 kn

Zrinka Paladino: Lavoslav Horvat - Kontekstualni ambijentalizam i moderna

Rukopis knjige dr. Zrinke Paladino pod naslovom Lavoslav Horvat – Kontekstualni ambijentalizam i moderna monografska je obrada života i djela ovoga velikog i iznimno plodnog arhitekta. Štoviše, obrađujući detaljno sve Horvatove stvaralačke faze autorica n
250,00 kn

Ljiljana Blagojevic: Modernism in Serbia

Modernism in Serbia The Elusive Margins of Belgrade Architecture, 1919-1941 Ljiljana Blagojevic Table of Contents Modernism in Serbia is the first comprehensive account of an almost forgotten body of work that once defined regional modernism at i
250,00 kn

Radovan Miscevic, urednik: Radovan Miscevic,

Monografija obuhvaća razvojne planove i urbanističke projekte na čijoj koncepciji i sintezi je autor radio kao vodeći planer - projektant, studije i istraživanja, urbanističke i arhitektonske natječaje, arhitektonske projekte i realizacije u razdoblju 195
200,00 kn