32r a z g o v o ri n t e r v i e wThe trend in world architecture is, thank goodness,simplicity and paced cultural expression as a result ofthe crisis. I think the time of expressive architecture,especially present in the Middle and countries of theFar East with money or countries with large financialresources, such as Russia, even though such facilitiesare still being built, has passed. In all the other countries,there is a need for architecture to be calmerthan it was in the 90’s and, in the large part of the2000’s. Of course, all of this is reflected in Croatianarchitecture with some lag. Not because we do notunderstand this, but simply due to the fact that architectureis still slow in its implementation. This is howit works in the world as well, only we see the finishedhouses and on the basis of that we understand thephilosophy according to which they were made, sothere is a gap in time.As the financial crisis has affected us as well, wearchitects have to execute this bit of work we havein such a way that it is feasible. And in order to makesomething feasible, it must be functional, beautiful,simple ... which luckily fits into these new trends. Asthe world is now truly a global village, it is often difficultto distinguish by architecture where somethingoriginates from. For example, I recently wrote about avery prominent architectural object and, unfortunately,I could not be positive in the evaluation, because thehouse of one of the world’s most famous architectscould have been located in any town in the world.This is certainly one of the problems of contemporaryarchitecture.What do you think about Zagreb’s urban problemssuch as the area under Sljeme, issues such as theFlower Square, “Bandic’s fountains” and the like?Of course, the city has to develop, that is, the areamust develop. The politicians bring decisions onpaths of spatial development and we have to knowthat democracy is slow and has a four-year delay,that is how much it is late. The truth is that we haveinstruments that can affect something before theexpiration of those four years, but it is still verydifficult. I think it’s important to find a measure interms of the interests of the community and theinterests of investors. Communities must be awarethat without the funds nothing can be built, and thatthe state, the community and its representatives donot always have enough money. On the other hand,we have an investor who has money and who knowsexactly what must be achieved in order to return theinvested funds and have earnings. It would be greatif the community representatives had experts whocould figure out how much of that which belongs to
the community could possibly be given to the investorto make him satisfied. But at this point peopleusually lose criteria. It is then the source of misunderstandings,scandals, quasi-scandals and the like.The northern part of Zagreb is quite a differentstory than the Flower Square, an entirely differentstory than the fountains ... I am both forthe Flower square and the fountains, if they arethought out well. I highly respect my colleagueHelena Njiric and her work. Was this the right timeto have the fountains built? Probably not. Are wegoing to forget after 30 years at which time theywere built, and be very happy with them? Probablywe will. But we cannot forget that the drivearound the town of Zagreb down the ravaged asphaltroads and at the same time we build fountains.What is built on the Flower Square is probablyfor a certain square meter, not to say thousandsof square meters too big, but something certainlyshould have been built there, no question aboutthat. I think the project made by my colleague Mr.Podrecca is very, very good, but that does not meanthat there is no room for criticism. We can also talkabout Srd and so on ...How do you reconcile the work in your own studio,the engagement in Oris and the House of architectureproject?I manage to synchronize it all because all of this, andthis might sound banal, is taking place within 50 metersfrom the Oris office, the office of “Rusan architecture”and my family house. My wife is also an architectand we work together in an architectural office. Wehave three beautiful children, and I think we have acompact family, which is certainly one of the mostimportant conditions that enables me to deal with allthis. And it seems to me that the projects we make inthe architectural office and in Oris are of such a typethat bring certain positive results, create pleasure andthe encouragement to continue.The crisis has really reflected very much in thearchitecture and construction. How much do youfeel this downfall yourself at your studio?Very, very much, like everyone. I can tell you that thesituation is terrible. There are probably several officesin Croatia, which rightfully won’t tell you this. Manyuntil recently successful offices have significantlyreduced the number of their employees.How do you assess the current state of Croatianarchitecture and with what kind of architecturalscene are we entering into the European Union?This is how I respond: Oris, at the invitation of a galleryfrom Vienna, made the exhibition “Continuity ofmodernity” on Croatian architecture of the 30’s, 50’sand contemporary architecture, which consisted ofhundreds of works, of which one half belonged to thecontemporary era.So far, the exhibition has toured 18 towns in Europe,and it showed us that what contemporary Croatianarchitects are doing is worth paying attention to, whileall the previous works, that is our modern art from the30’s and works from the 50’s and 60’s, represent somethingthat is a true discovery for Europe.The scene of contemporary Croatian architecturebegan waking up abruptly around 2003, and today itdraws attention wherever it appears outside the Croatianborders. Of course it is a problem that it appearsvery rarely, that it is not presented in a systematicway, but as single appearances in a magazine, lecture,fair and the like or at a certain more or less interestingexhibition of Croatian architecture.For Croatian architecture it is an extremely big dealthat Studio UP received the Mies van der Rohe awardfor upcoming young architects, which appeared in ourmedia, although even this was not used in full. And itis the largest, so to say, junior European Prize for Architecture.Their works are published in major magazines... Hrvoje Njiric took over the chair in Toronto ...Vedran Mimica became vice dean of the ITT school inChicago, founded by Mies van der Rohe, which all representsthe great successes of Croatian architecture.I think that we can be proud of it and that Croatianarchitecture is evolving in the right direction, whichdoes not mean that it is flawless and perfect and thatthere is nothing to add to its essential quality.Another major achievement was the extraordinaryproject of Croatian architects for the Venice Biennaletwo years ago. Unfortunately, due to our, architecturalerror, the project failed to appear in Venice, but allthose who have seen this project, including KazuyoSejima, who was at that point the director of theFestival and afterwards had a guest performancehere and gave an interview to Oris, evaluated it verypositively. This is one mistake in the development ofCroatian architecture, which will, if we look at it objectivelyand self-critically, be a lesson for even betterresults in the future.Of course the problem is that now we are in acrisis and almost nothing is being built, and it slowsdown the development of domestic architecture.But I think the generation that re-launched the developmentof Croatian architecture is just enteringits best years and that before those architects lieanother 20-30 years of work. And they have goodsuccessors as well.How do you envision the future of House of architectureand how should it affect the local architecture?I think it will have a powerful effect, because otherwiseI would never have even started this work. If it doesn’thave an impact on the Croatian architectural scene, itwill fail. The House of architecture will be an institutionof culture, but it must be also a company that will generatesome income, because without it the House willnot be able to survive.I believe that the House of architecture will becomea place that people of various profiles will happily visitand that everybody who understands architecture willaccept it as their own living room.