Među stranim arhitektima koji su tijekom 20. stoljeća obogatili arhitekturu Beograda, uz ruske emigrante i češke graditelje, s oko pet stotina zgrada prednjačili su projektanti iz Hrvatske. Istaknuli ...su se ponajprije u arhitekturi interpoliranih poslovno-stambenih zgrada, kao i u projektiranju administrativnih, ugostiteljskih, stambenih i rezidencijalnih zgrada. Izgradili su i tri katoličke crkve i četiri memorijalne cjeline. Aktivno su sudjelovali na natječajima za prestižne javne zgrade, često dobivajući nagrade s pravom na izvedbu.
Research into the work of the renowned Yugoslav architect Milan Zlokovic (1898-1965) initiated after his death, gradually encompassed the regions of the former state where he left an indelible mark. ...Besides Serbia, Montenegro, Bosnia and Herzegovina, and Northern Macedonia, he also actively worked in Croatia drawing inspiration from the Mediterranean and Modernism. Documents from the Zlokovic's family legacy stored in the Milan Zlokovic Foundation and the Belgrade City Museum, have provided a more detailed and profound insight into his built and unfinished projects of which some deserve to be thoroughly examined from a historiographic perspective. A full review of Zlokovic's oeuvre should go beyond his individual creative preoccupations and examine it in the context of the professional work of other Serbian architects who worked in Croatia between the two world wars. The prevailing attitude among them was the perception of the Croatian territory as an integral part of the Yugoslav cultural and professional scene. Besides Zlokovic, some other figures were here actively involved as well: Nikola Dobrovic, Momir Korunovic, Andrej Papkov and Bogdan Nestorovic. Milan Zlokovic's first Croatia-related drawing was a preliminary design of the Mihajlovic family mansion (1922) planned to be built in the eastern historic suburb of Dubrovnik called Ploce. Upon his return from Paris in spring 1923, Zlokovic submitted his first competition entry in Croatia. It was the design for the Central and District Workers' Insurance Office (now the Croatian Pension Insurance Institute at 3, Mihanoviceva street in Zagreb) on the southern branch of the eastern segment of the so-called Green Horseshoe area. Zlokovic's design of a free-standing four-storey building with elevated ground-floor level and a loft, registered under the code "Worker", has been preserved in the form of several sheets in ink on paper, laminated on a cardboard base. The monumental fourstorey building has an irregular rectangular plan with an approximately uniform layout of rooms on each floor. The exterior of a detached palace in an urban setting is conceived in Late Central European Historicism with Mannerist and Baroque details and a faint reflection of Art Nouveau and Czech Cubism. The visual harmony is also achieved by the peripheral rusticated corners of the building, derived from the aesthetics of Mannerism. However, Zlokovic's work was not short-listed for the award. The first prize with execution was awarded to Rudolf Lubynski. Zlokovic's competition project for the Maritime Museum in Split (1928), preserved in the family legacy and the Belgrade City Museum, shows that in the late 1920s Zlokovic was still restrained and conceptually vague in his approach to modern style. The elevation is devoid of ornamentation while the window openings lined up in a strip pattern are not dogmatically uniform; their size corresponds to the functions of the interior space. The effectively cut corner motif of the building, visible on the preserved drawings, triggers an association of a ship's bow. This is the reason why it is associated with the architecture of modernist expressionism in historiography. Despite its inherent innovativeness, Zlokovic's project did not win any award in this competition either. By the end of 1934, Zlokovic participated in a public all-Yugoslav competition for the design of a new building of the District Office for Workers' Insurance in Osijek, launched by the Zagreb central office of this state social institution. Zlokovic's concept was rooted in the fundamental principles of the international modern style - smooth parallelepiped blocks connected into a dense stereometric whole with strip windows. Zlokovic was more successful in designing the Villa Emilija (1934) for the Begovic family in Orebic or a chapel (1936) at the "Captain's Cemetery". At the time, the villa Begovic conceived in a strict modernist manner was immensely innovative for the city and the ambience in which it was placed. Nevertheless, its innovation was mitigated by a traditional hipped roof structure with accentuated chimneys which actually reduced the visual dynamism of the whole. The mausoleum of the Begovic family was built in the Orebic cemetery as part of the Franciscan monastery. It is adapted to the local funerary and religious tradition and radiates dignity and visual restraint as is appropriate to a cemetery chapel. Zlokovic's legacy holds unrealized Regulatory Basis of the Lapad Peninsula in Dubrovnik from 1936-37 and an unbuilt project of a residential and commercial building of the Serbian Orthodox Municipality in Nova Gradiska. After 1945, Zlokovic seldom worked in Croatia. He was more busy in Serbia and Monte Negro riviera. However, the family legacy holds a few preliminary drawings of: Workers' development of the Kvarner shipyards in Rijeka (competition entry, code "Fervet opus", 1947-48, Hotel on Lapad (1954, awarded competition entry), Railway Station in Slavonski brod (1960), preliminary design of the church in Glina (1961, unbuilt). All these projects should be thoroughly analyzed from a historiographic perspective. Although widely known for only two realizations in Orebic and several competition entries and unrealized projects, Zlokovic's opus in Croatia between the two world wars deserves attention as it testifies to inherent broad-minded receptiveness of the Croatian cultural scene towards the talented architects from other Yugoslav environments. The projects presented in this paper were produced in various phases of Zlokovic's career. Yet, they all show his respect towards the tradition. At the same time they clearly manifest an evolution of Modernist ideas ranging from expressionist symbolism to socially engaged functionalism. Always ready for change and improvement, Zlokovic did not regard his designs at the competitions in Zagreb, Split and Osijek as failures but as confirmation that he was developing himself in a widely acceptable and competitive direction. Such attitude was a great stimulus to other Serbian architects to take a more active part in other environments and in this way become more receptive to innovative ideas and programs. Documents about Zlokovic's professional work in Croatia that are now available in digital format will hopefully help to evaluate his work in other parts of ex Yugoslavia. They will be especially useful to the researchers in Monte Negro who now have the opportunity to examine his work on their riviera where he showed his fascination with the Mediterranean and Modernism.
This paper presents an overview of the professional work of two groups of Russian immigrant architects: those coming from other parts of Yugoslavia who used to work in Croatian cities (Andrej Papkov, ...Andrej Sevcov, Viktor Zelinski and Valerij Stasevski) and those who, as Zagreb University graduates in architecture, contributed to the architectural scene outside Croatia (Vsevolod Tatarinov, Leonid Maksejev, Viktor Zalevski, Irina Nepokojcickaja and Fedor Wenzler). RUSSIAN IMMIGRANT ARCHITECTS ZAGREB GRADUATES OF ARCHITECTURE U pregledu arhitektonske djelatnosti emigranata iz Rusije ovom se prilikom aktualizira rad graditelja iz drugih jugoslavenskih sredina u hrvatskim gradovima, kao i doprinos zagrebackih diplomanata arhitekture ostvaren izvan granica Hrvatske. Unutar prve skupine graditelja izdvojili su se Andrej Papkov, Andrej Sevcov, Viktor Zelinski i Valerij Stasevski, dok su se u drugoj afirmirali Vsevolod Tatarinov, Leonid Maksejev, Viktor Zalevski, Irina Nepokojcickaja i Fedor Wenzler. Arhitekti emigranti iz Rusije Zagrebacki diplomanti arhitekture
The little-known history of Russian architects and their professional work in Croatia deserves to be more thoroughly researched and critically evaluated in order to shed light on the context in which ...they built up their professional careers together with the professionals who came from other parts of the former Yugoslavia. The work of the Russian architects has been retained in barely remembered fragments and has never been the subject of a systematic study. Forgotten by Russian historians for too long, it has never been properly analyzed within a wider Yugoslav context which left an indelible mark on it. RUSSIAN EMIGRANT ARCHITECTS JAKOVLJEVIC KIVEROV, GEORGIJ LJVOVIC SKOPIN, IGOR NEPENINA PETROVNA (DUMENGJIC), ZOJA NIKOLAJEVNA ZALEPUGINA, NADEZDA PAVLOVIC FETISOV, PETAR RIKARDOVNA FELDT, GALINA Nedovoljno poznata i historiografski osvijetljena, stvaralacka angaziranost ruskih graditelja u Hrvatskoj zasluzuje potpuniji kriticki osvrt. Obiljezili su je strucnjaci koji su se u njoj formirali, kao i graditelji pristigli iz drugih jugoslavenskih centara. Pretezno zapamcena u fragmentima, umjesto prezentirana kroz cjelovito povezana i provjerena saznanja, njihova djelatnost kao nacionalne skupine ostala je na margini dosadasnjih istrazivanja. Predugo zaboravljena i od ruskih povjesnicara, nije analizirana u siremu jugoslavenskom kontekstu koji ju je temeljno odredio. ARHITEKTI EMIGRANTI IZ RUSIJE JAKOVLJEVIC KIVEROV, GEORGIJ LJVOVIC SKOPIN, IGOR NEPENINA PETROVNA (DUMENGJIC), ZOJA NIKOLAJEVNA ZALEPUGINA, NADEZDA PAVLOVIC FETISOV, PETAR RIKARDOVNA FELDT, GALINA
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