Zagreb

Profesor Fakulteta političkih znanosti dr. sc. Božo Skoko autor je nove sveučilišne monografije, zapravno prvog udžbenika posvećenog fenomenu država kao komunikatora u međunarodnim odnosima, odnosno strateškom komuniciranju država, u ovom dijelu Europe.

Link na Universitas portal:
https://www.universitas-portal.hr/stratesko-komuniciranje-drzava/

U Zagrebu je, od 1926. do 1942., djelovala Skola za arhitekturu pri Umjetnickoj akademiji, kroz koju je proslo oko sedamdeset, a diplomiralo osamnaest studenata, medu kojima su neki od najzanimljivijih autora hrvatske arhitekture 20. stoljeca (Mladen Kauzlaric, Stjepan Planic, Lavoslav Horvat, Zvonimir Pozgaj, Drago Galic, Neven Segvic i drugi). Izuzetan po svojoj osobnosti i oblikovnoj kulturi, skolu je vodio arhitekt Drago Ibler, koji je u nas preuzeo Gropiusovu ulogu odgajati sredinu i drustveno angazirane arhitekte. Model skole bio je nov i eksperimentalan, a selekcija studenata stroga. Nastava je bila radionicka, a profesor i studenti radili su na aktualnim arhitektonskim zadacima i ucili iz otvorenih debata, cime je bilo omoguceno smanjenje broja kolegija. Ovo je ujedno prva skola u nas koja prekida s tradicijom i uvodi modernu arhitekturu izravno u svoj program. Poticani su bili kreativnost, individualni pristup oblikovanju i socijalna osjetljivost. Drago Ibler, "kao motor skole", stvorio je katedru koja se veze uz pojavu radikalne moderne arhitekture u nasoj sredini. Usporedno djelovanje "Iblerove skole" i Odjela za arhitekturu Tehnickog fakulteta doprinijelo je izuzetnoj zivosti zagrebacke i hrvatske arhitektonske scene. Fenomen Iblerove arhitektonske skole poslije rata, bitan je s aspekta kontinuiteta modernizma u nasoj sredini.

Zaključivši popis djela arhitekta Slavka Löwyja (Koprivnica 1904.-Zagreb 1996.) jednog od sustvaratelja hrvatske moderne arhitekture 30/ih godina, nametnula se tema njegovih "bliskih susreta" s najistaknutijim akterom razdobjla - arhitektom Dragom lblerom (1894.-1962.). Iblerov opus već je temeljito interpretiran, dok valorizacija Löwijeva djela tek predstoji. Obojica su, u razmaku od deset godina, diplomu stekli kod Martina Dülfera na Visokoj tehničkoj školi u Dresdenu. Autorica analizira tri profesionalna susreta Drage Iblera i Slavka Luowyja, kao konkurenata na zagrebačkim lokacijama za koje su između 1933. i 1936. godine, raspisivani natječaji za ugrađene stambene ili stambeno-poslovne zgrade, koje su uglavnom bile realizirane prema Luowyjevu projektu. Analiziraju se specifičnosti rješenja obaju autora, kao i njihova moguća zajednička polazišta.

Jedna od četiri kuće u posjedu ugledne i bogate obitelji Auer, koje su markirale morfologiju ovog cottage naselja u srcu Zagreba, primjer je povijesne nebrige, višedesetljetnih zabluda i otužni svjedok života kakav je ovdje nekad bujao Vila Roberta i Leopoldine Auer na Rokovu perivoju 1 Napisala: Petra Vugrinec R okovim perivojem uza sjeve-rozapadni obronak brežuljka nižu se vile hrvatskih umjetni-ka iz razdoblja moderne. Prilično vizio-narska odluka gradskog načelnika dr. Milana Amruša te Općine slobodnog i kraljevskog glavnoga grada Zagreba da se zemljište uz nekadašnje groblje ustupi umjetnicima za njihov prosvjetni i umjetnički rad te doprinos gradu, re-zultirala je umjetničkom kolonijom čija se koncepcija života i stvaralaštva može usporediti s jednakim koncepcijama u europskim kulturnim središtima poput Pariza ili Beča te zaštićenih ambijental-nih cjelina poput umjetničke četvrti Ma-tildehöhe u Darmstadtu. Takva koncep-cija državne skrbi za umjetnike, koja je poticala njihov rad pružajući infrastruk-turni okvir njihovom kreativnom razvoju te tražeći zauzvrat ustupanje kreativnih plodova njihova rada javnosti, državi ili gradu, svjedoči dakako o visokoj razini svijesti o važnosti umjetnosti i njezine uloge u kreiranju kulturnog a time i svih drugih vrsta identiteta naroda. I činjeni-ca jest da je idilična elegija perivojskog Ehrlich-Kovačić, kuća Auer

MILKA GRÜNWALD-GUTSCHY (1868-1950)

Between the two world wars in Zagreb, the cultural society, which counted, tried to enter the chosen society that gathered around two ladies called Milka. One of them was the world-famous, great and never surpassed soprano Milka Ternina (Vezišće, Dec. 19, 1863 - Zagreb, May 18, 1941), and the other one was Milka Grünwald born. Löbl (Rasinja, 1868 - Zagreb, Feb. 3, 1950) only known and esteemed in Zagreb. These two great ladies, educated above the average, knew each other well and respected each other, and shared almost all friends and society. Many writers, poets, playwrights, actresses and actors, directors and singers regularly met at their places. Milka Ternina usually invited people to tea parties, sometimes for the young people to meet. There the athmosphere must have been more exalted, but at Milka Grünwald’s home in Bregovita (today Tomić) Street no. 1 one was expected to enter a wonderful conversation in her pleasant drawing room. Normally the hostess kept the guests for lunch or dinner. Both Milkas were very wealthy and discreetly selflessly and greatly supported the arts and artists. As Ladislav Šaban writes in his history of the Croatian Music Institute (Hrvatski glazbeni zavod): "Let's mention immediately that the last testator in the history of the HGZ was its member Milka Gutschy (1949), who then left 1000 dinars, with which she closed a circle of loyal friends of music and the Music Institute of the old Zagreb."
These ladies were joined by Countess Jelisava Drašković, also a great theater fan, who kept inviting theatre people to her home in Remete street - once the entire Moscow Art Theatre in 1920. The fourth in the row of these music lovers and great friends of the Croatian National Theater, and the guest of many performances was Anka de Gvozdanović from High Street, who used to sit in a certain box wearing precious jewelery of big diamonds, especially earrings, previously owned by Klotilda Vranyczany-Buratti, the owner of the mansion on St. Catherine’s Square.
The cuisine of Milka Grünwald was known and unusual, surpassing the usual Zagreb good and high standards. She always had a cook and servants, but she had to give the ultimate touch to each dish before it was brought to the table. If it happened that someone arrived unannounced before noon, she told the person concerned "Today you are at my guest for lunch, but you have to excuse me for half an hour." And then she went to the kitchen and pantry and gave the cook the instructions what to do. In the family, but also wider, the legends of the pantry packed with wonderful semi-products, such as large jars with preserved beef soup, whole roasted geese preserved in fat, were told. Risotto was always served in two versions: one "dry", and the other before being served on the table was added a glass of sour cream mixed with two yolks.
Ladies always asked Milka Grünwald for recipes, which she did not like to do, and if so, she always omitted some small but important detail. Her sister-in-law Gizela Grünwald born. Alexander (Zagreb, May 2, 1873 - Samobor, Aug. 27, 1952) and daughter of the respective, Vera Tomić born. Grünwald (Varaždin, Jan. 15, 1894 - Zagreb, July 29, 1952) once lured Milka's cook to their apartment in Gundulić Street, and, having bribed her, found out all the most important secrets of Milka’s recipes. Many years later, Bojana Gnječ, born Tomić (Zagreb, March 29, 1924 - Basel, March 29, 2015), Gizela's granddaughter, and Vera's daughter, wrote down all of these family recipes into a cookbook.
Born in Rasinja in 1868, Milka Löbl was educated for a primary school teacher. First married to the wealthy Varaždin-born Albert Grünwald (Varaždin, 1848 - Zagreb, Jan. 1, 1915), before they arrived in Zagreb they lived in Marija Bistrica. After his death, she married Dr. Franjo Gutschy (Sisak, June 4, 1869 - Lipik, April 13, 1946), physician specialized for internal illnesses. Dr. Gutschy was also a great music fan and excellent partner to his wife.
Anyway, Milka Grünwald's house was open to the Zagreb's cultural elite for decades. A small insight into her society was given in 1979 by Nikola Škrgić (Dec. 7, 1908 - Zagreb, Aug. 14, 1987), academic painter, publicist and journalist. He described four of the famous gentlemen called Ivo from her society, three noblemen and one later Nobel Prize winner: the writer Ivo Conte Vojnović (Dubrovnik, Oct. 9, 1857 - Belgrade, Aug. 30, 1929), Ivo Raić de Lonja (Zagreb, Aug. 23, 1881 – June 16, 1931), actor and theatre director, Ivan de Dominis - Mirjev (Rab, 1894 - Heidelberg, 1967), theatre actor and director and Ivo Andrić (Dolac / Travnik, Oct. 9, 1892 - Belgrade, March 13, 1975). In this article N. Škrgić mentioned financial difficulties, in which Ivo Vojnović often found himself and Milka Grünwald always helped him - similar letters with a request for financial assistance Vojnović also wrote to the general manager (on two occasions) of the Croatian National Theatre in Zagreb, Vladimir Treščec de Branjska (Topusko, May 23, 1870 - Dubrovnik, July 2, 1932). These letters to Treščec were given by his grandson Ivo Pitarević of Dubrovnik to the Institute for the History of the Croatian Theatre of the Croatian Academy of Sciences in Zagreb. The letters by Ivo Vojnović to Milka Grünwald and Franjo Gutschy were published by Tihomil Maštrović.
Among the many friends who frequented Milka Grünwald was the couple Rudolf and Ljubica Kunc with their children Božidar and Zinka, known as Zinka Milanov, a student and worthy successor to the legendary Milka Ternina. Dr. Božidar Grünwald (Varaždin, May 21, 1899 - Zagreb, October 14, 1985), Milka's nephew, used to describe how he listened to singing of the fifteen-year-old Zinka with a fully-developed wonderful soprano.
As a young girl Milka Grünwald must have had theatrical ambitions - this is witnessed by a photograph taken in the studio of Rudolf Mosinger and Leopold / Lavoslav (Poldi) Breyer, otherwise a painter, in Zagreb, and according to Nada Grčević this company operated between November 1894 and December 1898, with Milka's dedication from 1901. This picture was for more than a hundred years kept with reverence by her relatives, the Lapter family. There is a young and attractive, beautiful Milka dressed in a Hungarian folk costume. As an older lady - preserved on the drawing by Nikola Škrgić – she was described as a beautiful, small appearance, with short curly gray hair, always refined and elegant, with large diamond earrings and a one string of large diamonds around her throat. The latter was once split and divided among her favorite nieces. Allegedly she smoked cigarettes on a long cigarette holder.
All these wonderful and sophisticated gatherings, music and banquets abruptly came to an end in 1941. Ternina died shortly after the overthrow, and Milka Grünwald-Gutschy until 1945 lived from day to day in fear of what would happen to her. Yet good people she had always helped, managed to protect her. They did not, surprisingly, forget her many good deeds. And from May 8, 1945, quite different times arrived with the confiscation and nationalisation of property, apartments and houses, numerous evictions - this was already a rule for the many proscribed after April 10, 1941 - with the forced moving in of co-tenants, who then remained for decades, there was no more talk of salons and feasts. From a racial enemy Milka Grünwald-Gutschy suddenly became a class enemy of the people, and her house was overcrowded by numerous occupants, but also by relatives (such as Nada Kraus or Božidar Grünwald), who rescued some of the rooms with their presence.
And here, on the occasion of the re-publication of Škrgić's article on Milka Grünwald-Gutschy, we have tried in short lines to say at least something about that glittering star of the long past Zagreb cultural life.

The question of removing graffiti is on going problem in Zagreb. Also, part of the wall with graffiti in Branimirova Street was recently demolished. It is important to hear pedestrians oppinion about this topic and analysis the role of graffiti in the mediated city.  Karl Marx and Friedrich Engels considerate city as consequences of urbanization under capitalism and they examine the concentration and misery of the mass of workers in the new urban agglomerations as a necessary stage in the creation of a revolutionary force.  Acording to Iveson, graffiti writing and other forms of street art involve alternative ways of imagining, mapping, using, mediating and making urban space. Graffiti are usually seen as violation of social behavior and threat for community values. Such a perspective could very usefully be applied to critically interrogate ‘zero tolerance’ approaches towards graffiti. City authorities  aren't supporting toward graffiti wall in Zagreb, but also some of the citizens, who assemble round table about this topic.  They worry about idealistic views of the city, as such views fail to account for the everyday life and experience of it.

Among the Zagreb economic elite at the end of the 19th century and the beginning of the 20th century, there were many Jewish families. Within this economic elite we find a large number of art collectors – one of them was the engineer Robert Deutsch Maceljski (1884-1943). He is remembered as a patron of the Croatian painter Milivoj Uzelac and we find him among the buyers at the gallery Salon Ullrich since its beginning in 1910 until 1939. In addition to his collection of contemporary art works, Robert Deutsch Maceljski owned a large collection of Old Masters and icons, but also sculptures and objects of applied arts. During the period of the Independent State of Croatia (1941-1945), due to the risk of war damages, a series of legal acts on the conservation and preservation of the monuments were passed by the Ministry of Religion and Education and the Conservation Institute in Zagreb. Art objects of private houses were listed and, within a legal framework, removed – for Jewish families it meant forever. Robert Deutsch Maceljski collection was transferred to the Croatian National
Museum of Arts and Crafts and after the war, in 1947, parts of his collection were moved to the Strossmayer Gallery of Old Masters. Robert and his wife Hilda were deported and killed in Auschwitz in 1943; only their daughter Vanja (1923-1996) survived by escaping from the country. After the war she twice tried to recover her family property from the museums: in 1958 and 1966, but unsuccessfully. Today the art objects of the Robert Deutsch Maceljski’s collection are part of the collections of three museums of Zagreb: the Museum of Arts and Crafts, the Strossmayer Gallery of Old Masters and the Modern Gallery.

Članak donosi ulomke dosad gotovo potpuno nepoznate biografije bečkoga plemića Julija pl. Zigeunera Blumendorfskoga, pretežno iz vremena njegova boravka u Zagrebu od 1878. do 1894. godine. Budući da o njemu u literaturi gotovo i nema spomena, na temelju novinskih napisa i arhivskoga gradiva prikupljeni su osnovni biografski podatci te je rekonstruiran dio njegova životnoga puta. Protagonista tako možemo pratiti od početaka ugostiteljske djelatnosti u glavnom hrvatskom gradu, preko stjecanja i trošenja velikoga nasljedstva, pa sve do financijskoga sloma izazvanog lakovjernošću i neopreznim financijskim investicijama te smrti u Beču. Zigeunerova je životna priča ispričana kroz dvanaest poglavlja u kojima su obrađeni različiti aspekti njegove raznolike djelatnosti, čije je tragove i danas moguće pronaći u zagrebačkoj svakodnevici.

Župna crkva u Granešini pripada skupini najoštećenijih građevinama u potresu od 22. 3. 2020. Ovaj članak, objavljen 2011., s priloženim ilustracijama, nastoji podsjetiti o kojem se važnom spomeniku neogotike u Hrvatskoj radi.
The parish church in Granešina belongs to the group of the most damaged buildings in the earthquake that hit Zagreb on 22 March 2020. This article, published in 2011, with the accompanying illustrations, seeks to remind us of this important Neo-Gothic monument in Croatia.

Slijedi sažetak teksta:
Župna crkva Rođenja Blažene Djevice Marije u Granešini, mjestu sjeveroistočno od Zagreba (danas u granicama grada), na obroncima Medvednice, jedan je od najvažnijih spomenika sakralne arhitekture historicizma središnje Hrvatske. Zahvaljujući patronatstvu zagrebačkog Stolnog kaptola nad župom projektiranje nove građevine, na mjestu starije srednjovjekovne barokizirane crkve stradale u potresu 1880. godine, povjereno je arhitektu Hermanu Bolléu koji je, usprkos ograničenim sredstvima koje je imao na raspolaganju realizirao u Granešini jednu od svojih najranijih i najkvalitetnijih novosagrađenih sakralnih građevina.
Crkva je podignuta 1885. – 1886. kao trobrodna jednotoranjska neogotička bazilika s transeptom i poligonalnim svetištem. Oblikovno rješenje Bollé je izveo pod snažnim utjecajem crkve svete Brigitte u Brigittenauu, predgrađu Beča, podignute prema projektima Friedricha Schmidta 1867-1874. godine.
Tijekom 1887. opremljena je novim oltarima, propovjedaonicom, orguljama, klupama i ispovjedaonicama, izvedenima po Bolléovim projektima od strane uglednih zagrebačkih obrtnika (Slavoljuba Wagmeistera, Friedricha Häckera, Antuna Mesića i drugih). Od značajnijih dijelova opreme stare crkve zadržana je u novoj građevini samo kasnogotička skulptura Bogorodice s Kristom u naručju, izrađena vjerojatno u drugoj polovini 15. stoljeća.
Unutrašnjost je oslikana 1899. najvećim dijelom dekorativnim oslikom s nekoliko figurativnih polja. Izradu oslika započeo je Richard Rojnik, no, zbog sukoba sa župnikom, završio je samo svodove. Skupina slikara koje je nadzirao Ivan Tišov: Josip i Mijo Butković, Ivan Zenc, Antun Špende i Neihäusler izveli su ostatak dekorativnog oslika zidova brodova i svetišta crkve, a Lovro Sirnik figurativne kompozicije. Bogata polikromija oslika i variranje motiva daju postavljaju dekorativno slikarstvo granešinske crkve na istaknuto mjesto u umjetnosti historicizma u Hrvatskoj.

U godini kada obilježavamo 80. obljetnicu ustanka protiv fašizma, treba se prisjetiti herojskih likova boraca i ilegalaca koji su dali svoje živote u borbi za slobodu. U Narodnooslobodilačkom pokretu u Zagrebu sudjelovalo je od 1941. do 1945. godine oko 50.000 građana Zagreba, od 300.000 koliko ih je pred početak Drugog svjetskog rata živjelo u Zagrebu. Više od 16.000 građana poginulo je u zatvorima i logorima ili kao borci partizanskih jedinica. Zagreb je dao 89 narodnih heroja i oko 600 nositelja partizanske spomenice 1941.
Jedan od heroja bio je i Albin Kovačić, podsusedski omladinac, predratni skojevac, komunist, hrabri ilegalac i snalažljivi diverzant koji je prihvatio  zadatak koji je povijest postavila pred mladiće i djevojke u okupiranom Zagrebu 1941. godine. Sa osamnaest godina priključio se oružanoj borbi, svjestan svih rizika i opasnosti, sudjelujući u pokretu čiji je cilj bilo osloboditi zemlju od fašizma i stvoriti bolje i pravednije društvo. U ilegalnim akcijama pokazao je hrabrost i požrtvovnost, pri uhićenju smirenost i snalažljivost, a kod mučenja snagu i ponos. Strijeljan je na Dotrščini u dvadesetoj godini života. Prekinute snove Albina Kovačića o slobodi dosanjali su njegovi drugovi, a plodove te - u borbi izborene slobode - osjećamo i danas.
Ivan Šibl, predratni komunist i zagrebački ilegalac, u svom ratnom dnevniku zapisao je sljedeće: “Likovi poginulih boraca blijede u našem sjećanju, trajna uspomena pripast će samo najznačajnijima. To je nepravedno! Bitke se dobivaju zahvaljujući upravo neznanim junacima. Svaka naša borba i svaka naša pobjeda satkana je od mnogo takvih epizoda, koje nam se u okviru cjelokupne operacije, a pogotovo ako ih mjerimo historijskim mjerilima, čine beznačajnima.“.
Trajna uspomena nije pripala čak ni najznačajnijima. Iako je nakon rata podignuto 448 spomen obilježja Narodnooslobodilačke borbe i revolucionarnog pokreta, imenovano 177 javnih institucija te 337 ulica i trgova nazivima što se odnose na osobe ili događaje iz NOB-a ili iz revolucionarnog pokreta, devedesetih godina prošlog stoljeća uklonjeno je ili preimenovano čak dvije trećine spomen obilježja, javnih institucija, te ulica i trgova. Današnjih tek 202 spomen obilježja te imena 22 javne institucije i 99 ulica i trgova prkosno svjedoče tom gotovo zaboravljenom herojskom vremenu.
Uspomena na Albina Kovačića nije bila pošteđena. Trg u Podsusedu koji je nosio njegovo ime je preimenovan, spomen ploča u osnovnoj školi koju je pohađao je uklonjena, a pionirski odred koji je nosio njegovo ime nestao je sa drugim simbolima poslijeratne kulture sjećanja u promjenama devedesetih godina prošlog stoljeća.
U ovoj publikaciji po prvi puta predstavlja se opširnija biografija prvog diverzanta u okupiranoj Hrvatskoj nastala na temelju literature i dokumenata. Albinovih suboraca iz prorijeđene partizanske kolone gotovo više da i nema i zato je na nama, generacijama rođenih i odraslih u slobodi, obveza da čuvamo uspomenu na Albina Kovačića. Neka ova publikacija u spomen Albinu Kovačiću ne bude samo uspomena na prošlost, već inspiracija svima koji se bore za bolje i pravednije društvo.
Upravo danas se navršava 99 godina od njegovog rođenja. Nadam se da će iduće godine, kad obilježavamo 100. godišnjicu rođenja i 80. godišnjicu smrti, ova publikacija doživjeti svoje tiskano izdanje. Nadam li se previše?

Mario Šimunković
Zagreb, 15. prosinca 2021. godine

Utjecaj češke na hrvatsku arhitekturu 20. stoljeća izuzetno je velik, djelom zahvaljujući djelovanju čeških arhitekata u Hrvatskoj (na primjer u izgradnji kompleksa Batine tvornice u Borovu), no još više stoga što je cijeli niz hrvatskih i jugoslavenskih arhitekata završio školovanje na njemačkoj ili češkoj politehnici u Pragu. Među najvažnije od njih spada Marko Vidaković (Golubinci, 18. 7. 1890. – Zagreb, 5. 1. 1976.). Nakon jedne godine studiranja na Visokoj tehničkoj školi u Beču (1909. – 1910.), na Česká vysoká škola technická u Pragu studirao je s prekidima između 1910. i 1919. Vidaković je odigrao ključnu ulogu u pojavi moderne u arhitekturi Hrvatske organiziranjem izložbe Čehoslovačke savremene arhitekture u Zagrebu (17. 3. – 1. 4. 1928.) koju je priredio uz pomoć Zdenĕka Wirtha iz Čehoslovačkog ministarstva za školstvo i narodnu prosvjetu. Nedugo poslije izložbe projektirao je i podigao jednu od prvih građevina internacionalnog stila u Zagrebu, vilu Ljudevita Pfeffermanna (Jurjevska 27a, 1928. – 1929.). I u ovome i u kasnijim njegovim projektima (poput nerealiziranog projekta paviljona za Zagrebački zbor iz 1931.) osjeća se utjecaj radova čeških arhitekata. Iako nakon vile Pfeffermann Vidaković neće imati prilike realizirati važnije građevine, iz projekata koje je izrađivao (tramvajska stajališta, 1930. ; umjetnički dom, 1930. ; klinika za otorinolaringologiju, 1940., sve u Zagrebu) očito je kako se radilo o vrlo talentiranom arhitektu koji je potpuno prihvatio leksik moderne arhitekture. U širenju internacionalnog stila u Hrvatskoj i Jugoslaviji odigrao je važnu ulogu i putem svojih brojnih tekstova publiciranih u časopisu Arhitektura iz Ljubljane, te u zagrebačkim i beogradskim dnevnim novinama. Tijekom Drugog svjetskog rata aktivno je sudjelovao u spašavanju srpske djece u profašističkoj Nezavisnoj Državi Hrvatskoj.

The first organ of Zagreb Cathedral was built by an unknown master ca. 1420. The second instrument was made, in 1505-06, by a master Marco in the North Italian manner. It was replaced in 1645-46 with an instrument built by the Cathedral organist Grgur Štrukel. The painting and gilding of the case were the work of Ivan Maurer. This instrument was repaired in 1653 and 1669 by Christophor Lauterspeck, a German. A fourth organ was built in 1689-90 by a South German builder from Ljubljana, Janez (Ivan) Faller. It was replaced in 1808, when Bishop Aleksandar Alagović ordered a new instrument from Franz Focht in Pècs. Focht's organ was sold in 1854 to the parish church in Pregrada. The present instrument was constructed in 1855 by the German builder Eberhard Friedrich Walcker. The first four instruments are described here in detail, with data on their dispositions. Builders' contracts are transcribed in an appendix.

Književno izdanje pod nazivom Bibliografski pregled knjiga i autora iz oblasti geografije i drugih geonauka na teritoriji Srbije, Hrvatske, Bosne i Hercegovine i Crne Gore u periodu 2000.-2020. daje prikaz 1566 autora i preko 1700 različitih knjiga koje su urađene od početka 21. stoljeća.
Autorov detaljni bibliografski pregled knjiga sadrži: pregled literature, prikaz knjiga po geografskim i geonaučnim disciplinama, metodologiju i bodovanje svih autora, kao i posebne dodatke o knjigama koje su izdate tokom 2021. godine, knjigama na engleskom jeziku, ali i knjigama iz 19. i 20 stoljeća koje su ponovo štampane u 21. stoljeću.
Uputstvo za citiranje: Šnur, M., 2021. Bibliografski pregled knjiga i autora iz oblasti geografije i drugih geonauka na teritoriji Srbije, Hrvatske, Bosne i Hercegovine i Crne Gore u periodu 2000.-2020. (358 str.). Sarajevo.

Work deals with biography of first stringed instrument maker in Zagreb (Croatia) and a disciple of Johann Georg Stauffer with new insights on development of Croatian tambura traditional instrument and it’s possible link to Fender electric guitars.

Czech modern architecture exerted a considerable influence on Croatia owing to the work of Czech architects in Croatia (e.g. on the construction of Bata's factory in Borovo), and more importantly due to numerous Croatian and Yugoslav architects who were educated at the Technical University in Prague. Marko Vidaković (Golubinci, 18 July 1890 – Zagreb, 5 January 1976) was one of the most significant. After attending the Vienna University of Technology for a year (1909-10), Vidaković studied intermittently at the Česká vysoká škola technická in Prague from 1910 to 1919. He played a key role in the emergence of modern architecture in Croatia through his efforts to organize the exhibition Czechoslovakian Contemporary Architecture in Zagreb (17 March – 1 April 1928) with the help of Zdenĕk Wirth from the Czechoslovakian Ministry of Schools and Public Education. Soon after the exhibition, Vidaković designed and built one of the first buildings of the international style in Zagreb, the villa owned by Ljudevit Pfeffermann at 27a Jurjevska Street (1928-29). This and his later architectural designs (such as the unexecuted design for the 1931 pavilion at the Zagreb Fair) show influences of works by Czech architects. Although Pfefferman Villa was his last built project, the unexecuted designs he created for various buildings in Zagreb (tram stop shelters, 1930 ; art pavilion, 1930), clearly attest to a great talent of this architect who adopted the vocabulary of modern architecture. He also played a major role in helping the international style spread in Croatia and Yugoslavia with his numerous texts published in the Ljubljana-based Architecture magazine as well as daily newspapers issued in Zagreb and Belgrade. During the Second World War he actively participated in the campaigns of saving Serbian children in the pro-fascist Independent State of Croatia.

Sažetak Jasenovac je obterećen zemljopisni pojam, zbog sabirnoga i radnoga logora koji se u njemu nalazio za vrijeme Drugoga svjetskoga rada i nekoli-ko godina nakon rata. No, Jasenovac ima zanimljivu i burnu prošlost između dvaju svjetskih ratova, što je premet ove rasprave. Štoviše, ne samo Jaseno-vac, već cijela Jasenovačka Posavina uključena je u politička događanja, koja su ovdje opisana. Rasprava je složena od šest dijelova: I. Uvod; II. Jasenovačka Posavina u doba Kraljevine Srba, Hrvata i Slovenaca; III. Jasenovačka Posavina od Šestosiječanjske diktature do ubojstva kralja Aleksandra Karađorđevića; IV. Jasenovačka Posavina od ubojstva kralja Aleksandra Karađorđevića do nastanka Banovine Hrvatske; V. Jasenovačka Posavina od nastanka Bano-vine Hrvatske do početka Drugoga svjetskog rata 6. travnja 1941. VI. Zak-ljučna razmatranja. I. Uvod a) Tema O Jasenovcu je do sada napisano mnogo studija, ali se do sada rijedko pokušavalo baviti bilo kojim drugim razdobljem i temom, osim temom kon-centracijskog logora iz II. svjetskog rata. Bilo kojim drugim razdobljem i temama bavilo se malo, nimalo ili usputno, kao da u tom mjestu nije bilo ništa drugo osim logora i njegove povijesti. Mjesto, odnosno naselje Jaseno-vac koje se prvi put spominje u popisu župa Zagrebačke biskupije 1334. godine kao da nije postojalo. Ipak radi se o malom, ali dinamičnom naselju, na povoljnom položaju koje je imalo zanimljiv razvoj, žitelji kojega s logo-rom u Jasenovcu su imali najmanje bilo koje veze. Razvoj političkih prilika, gospodarstva i društva u Jasenovcu u međuratnom razdoblju dijelom je nas-tavak ranije započetih postupaka u novim prilikama koje su često imale i

Preliminary catalogue of the music collection at the Franciscan monastery in Zagreb. The collection includes a large number of manuscripts and prints spanning between the 18th century and the 1970s, A number of composers residing in the monastery or involved with it in some other way are represented with a significant number of compositions: Bernardin Brixy, Anselmo Canjuga, Miroslav Grđan. Kamilo Kolb, Fortunat Pintarić, Hugolin Sattner, Bernardin Sokol, and Pankracije Vupora.

Both in the academic and public spheres, Vaništa is known as a renowned Croatian painter, graphic artist, writer, academic and one of the founders of the Gorgona art group. Despite not receiving much mention for his work as a university professor of drawing and modeling​, Vaništa has raised many generations of Croatian architects.

U članku se analiziraju borbe za Travnik i njegov pad 22. listopada 1944. g. te žrtve koje su pritom stradale, a njihova su imena dosad uglavnom bila nepoznata. U prvom dijelu se ukazuje na važnost i značenje Travnika, te borbe koje se vode oko i za njega tijekom Drugoga svjetskoga rata. U drugom dijelu predstavljeni su dokumenti s popisima nestalih i poginulih tijekom bitke za Travnik od 20.-24. listopada 1944. g. Ti izvori otkrivaju imena 39 nestalih i 33 poginula pripadnika V.stajaće djelatne bojne I. ustaškog stajaćeg djelatnog zdruga, o kojoj se u hrvatskoj historiografiji gotovo ništa ne zna.U trećem, posljednjem dijelu, pokušavaju se otkriti stratišta i grobišta žrtava radi dostojnog obilježavanja tih mjesta, te identificirati počinitelje tih zločina. Uvod Travnik je nastao u srednjem dijelu uske doline rijeke Lašve, u koju se ulijevaju dvije Lašve: Komarska (Komaršica) koja izvire ispod istomene planine i Karaulske Lašve koja dotiče ispod planine Radalj, a ulijeva se istočno u rijeku Bosnu, kao njezin lijevi pritok kod sela Janjića, u blizini željezničke postaje Lašva 1. Dolinom Komarske Lašve Travnik održava vezu s Uskopljem, odnosno Donjim Vakufom, a preko njega na jug s Bugojnom. Dalje preko Prozora veze idu prema dolini Neretve, a preko Kupreških vrata prema Srednjoj Dalmaciji i Splitu. Grad se nalazi na 45 stupnju sjeverne geografske širine i 18 stupnjeva istočne geografske dužine, između rijeka Vrbasa i Bosne, okružen planinama: na sjeveru Vlašić (1919 m), Ranče (1473 m) i Galica (1627m), na zapadu Dnolučka planina (1347m), Radalj (1388 m) i Komar (1510 m), na jugu Mravinac, pa Vilenica (1235 m), Kruščica PAGE 32 1 Janko Duić, Planine i planinarstvo u Srednjoj Bosni, Zagreb, 2008., str. 41; Vjenceslav Topalović, Srednja Bosna ne zaboravimo hrvatske žrtve 1941.-45./1991.-95., (dalje Srednja Bosna) Zagreb, 2001, str. 82. Ladislav Z. Fišić, Korijeni i život, Povijest šupe Dolac s osvrtom na ostale župe Lašvanske doline, Sarajevo – Zagreb, 2004.g., str. 98. 100 Svoju zemlju i oni su voljeli, str. 243. 109 Svoju zemlju i oni su voljeli, str. 331. Isti je navoden kao Mijo (Mišo) Batinić, sin Bože i Mare rođ. Milić, rođen 22.12. 1925. u Gornjoj Ričici, Skopljanska Gračanica, zarobljen od strane partizana i ubijen u listopadu 1944. u Travniku. 110 Isto, str. 342. Navedene su dvije osobe s imenom Jozo Kolak, ali samo onaj s nadimkom Ćoza mogao bi imati veze s listopadskim padom Travnika i citiranim dokumentom. Sin je Frane i Bisere, rođ. Šapina, žena mu je Finka – Vinka, rođ. Brnada, rođen 21. 12. 1918. u Lužanima, Skopaljska Gračanica. Zarobljen je od strane partizana i ubijen u listopadu 1944. u Travniku. 111 Isto, 325-326. Prema dostupnim podacima ni jedan od navedenih se ne može poistovjećivati s osobom spomenutom u ovom dokumentu. 112 Isto, str.211-214. Navedena su ista imena i prezimena, ali se ostali podaci ne slažu.

Novi, 146. broj Universitasa izlazi u ponedjeljak (27. prosinca) u Jutarnjem listu, Novom listu i Slobodnoj Dalmaciji, a dan kasnije (utorak, 28. prosinca) i u Večernjem listu.


Link na Universitas Portal: https://www.universitas-portal.hr/stize-novi-universitas-12/

Within the Austro-Hungarian Monarchy, Zagreb was always a receptive area – a city that imported, mainly with a certain delay, technological innovations, new concepts of urban planning, novel approaches to the construction of municipal utility infrastructure, and architectural designs from bigger and more progressive cities, most of all Vienna, despite the fact that the 1867 Compromise placed Croatia under direct Hungarian administration within the Monarchy. This paper aims to show that this occurred primarily because the majority of Croatian architects and members of the national political and economic elites had studied in Vienna, and partly due to the opposition towards Budapest that had been caused by a perception of Croatia’s unsatisfactory economic and political position within the eastern part of the monarchy. Furthermore, the knowledge transfer from Budapest to Zagreb was hampered by the fact that few people spoke Hungarian or were ethnically Hungarians, that Budapest’s architectural developments were largely unfamiliar in Zagreb and that Hungarian architects and engineers did not enjoy the equal amount of prestige as Viennese ones. Influences from Budapest grew stronger only after 1883 and the rise to power of Viceroy Károly Dragutin Khuen-Héderváry, an adherent of Hungarian politics. The Croatian government tried to strengthen the ties between Zagreb and Budapest and during the same period, Hungarian institutions (Royal Hungarian State Railways, Ministry of Finance, Ministry of Posts) launched several major architectural building projects in Zagreb. Buildings of these institutions reshaped the image of Zagreb in the late 19th and early 20th centuries. Hungarian institutions built some of the biggest Zagreb public building in the given period, which significantly contributed to the diversity and monumentality of Zagreb’s architecture.

The earthquake that hit Zagreb on 9th November 1880 was one of the most important breakpoints in the history of architecture and urban planning of the city. It was estimated that in its epicenter, which was northeast of Zagreb, earthquake was of magnitude 6.2 on the Richter scale. Barely any building in the city remained undamaged, and many buildings had to be completely removed due to the danger of collapse. On third day after the tragic event, Zagreb photographers began photographing significantly damaged or destroyed buildings. Otto Dasch made the first photographs and was soon after followed by other esteemed Zagreb photographers: Hinko Krapek, Gjuro Varga, Hermann Fickert and Johann (Ivan) Standl. Photographers played a key role in disseminating visual information about the earthquake, which was the only event that enticed a rather great interest of the world press for the Croatian capital in the second half of the 19th century. Although the earthquake did not have catastrophic effects, early reports of the majority of German, Hungarian, French, Italian, English and Slovenian dailies were rather unreliable, and often replete with exaggeration. The news appearing after the primary fear toned down, was completely contrary to the previous reports in that they minimized the damage. The aforementioned photographers thus tried with their photos to contribute to the objective view of the situation. However, they shot almost only those buildings which were most severely damaged by the earthquake, not so much because they wanted to overemphasize the scale of the destruction but because such scenes were the most interesting for the audiences. That was the same reason illustrated magazines from different parts of the world published images showing the most damaged buildings. During 1881, three albums were made which showed photographs of the earthquake damaged buildings. Two of them contain works of Standl and Fickert respectively, while the third album is a collection of works by four photographers: Standl, Fickert, Varga and Dasch. Standl's album “Photographs of the Zagreb Earthquake“ is characterised by a great quality of photos. It contains 25 works which were mostly commissioned by the Yugoslav (today Croatian) Academy of Sciences and Arts where Standl worked as an official photographer. Academy's Institute for Mathematics and Physics started gathering information about the earthquake in mid-November, at the same time when Standl was commissioned to take photographs of damaged buildings. The aim was to keep memory on the earthquake and to facilitate its scientific research. Standl’s album has been preserved in a rather large number of copies in various public institutions (archives, museums) and in private collections. Contrary to Standl, Fickert created his album “Memories on the Zagreb earthquake on 9th November 1880“ through his personal efforts and initiative. Each buyer of the album could choose 15 photographs from Fickert's collection and thereby create his or her own album, which consequently led to the creation of several different compilations of Fickert's works. The album containing the works of all three photographs bears the title “Photos of the Zagreb Earthquake on 9th November 1888“. It was created most likely due to the efforts of a public institution, probably the Zagreb City Council. Its special value lies in the photographs taken by Gjuro Varga which show damaged buildings on Zagreb's main city square. The aim of this presentation is an analysis of the creation and content of the photos from the albums and an attempt to present the ways in which the photos influenced the formation of the event’s image.

Rezime I U ovom radu se osvetljava projektantska aktivnost hrvatskih arhitekata u beogradskoj sredini tokom 20. veka, od učešća na javnim konkursima do realizacija značajnih gradskih zdanja. Beograd se tokom prošlog veka transformiše u evropsku metropolu a kao višedecenijski glavni grad Jugoslavije, bio je važan administrativni, kulturni i privredni centar. Ubrzano širenje Beograda u prvoj polovini prošlog veka je uticalo i na sve češći dolazak i angažman stranih stručnjaka, kojih u Beogradu u to vreme nije bilo dovoljno. Hrvatski arhitekti su delovali u Beogradu još od dvadesetih godina, a naročito tokom četvrte decenije, kada su arhitekti modernisti svojim konkursnim radovima i realizacijama ostvarili zapažen doprinos na beogradskoj arhitektonskoj sceni. Nakon ovog plodonosnog perioda hrvatskih arhitekata u Beogradu, podstaknutog idejom integralnog jugoslovenstva i aktuelnim modernističkim trendovima, u periodu posle Drugog svetskog rata i novonastalim političkim i društvenim okolnostima učešće hrvatskih arhitekata se postepeno smanjuje, kada ih zamenjuju mnogobrojni stručnjaci profilisani na beogradskoj školi arhitekture. U radu se daje osvrt na istorijski i društveni kontekst i kulturne prilike Jugoslavije tokom 20. veka, uslove za uspostavljanje saradnje između Beograda i Zagreba, te uticaj zagrebačke škole arhitekture, uz pregled najznačajnih hrvatskih arhitekata i njihovih ostvarenja u Beogradu.
Ključne reči I Beograd, Jugoslavija, 20. vek, modernizacija, hrvatski arhitekti, arhitektonski konkursi, moderna arhitektura

Summary I This paper studies the architectural practice of Croatian architects in Belgrade during the 20th century, from participating in public competitions to the realizations of significantly city buildings. During the last century, Belgrade is transformed into a European metropolis, and as a decades-long capital of Yugoslavia, was an important administrative, cultural and economic center. The rapid spread of Belgrade in the first half of the last century has led to a more frequent attendance and involvement of foreign experts, which in Belgrade at that time was not enough. Croatian architects operating in Belgrade since the twenties, especially during the fourth decade, when modernist architects of their competition designs and realizations achieved significant contribution to Belgrade's architectural scene. After this fruitful period of Croatian architects in Belgrade, instigated by the idea of ​​integral Yugoslav identity and current modern architectural trends, in the period after The Second World War and during the new political and social circumstances, participation of Croatian architects was gradually reduced, when they are replaced by numerous experts profiled in the Belgrade School of Architecture. The paper gives an review of the historical and social context, and cultural opportunities in Yugoslavia during the 20th century, a conditions and the establishment of cooperation between Belgrade and Zagreb, as well as the impact of the Zagreb School of Architecture, with an overview of the most important Croatian architects and their works in Belgrade.
Key words I Belgrade, Yugoslavia, 20th century, modernization, Croatian architects, architectural competitions, modern architecture

Despite the fact that in the history of Croatian architecture of the interwar period Expressionism neither took firm hold nor had the significance and reception like it had in Germany, there exists a whole series of architectural designs which display a pronounced influence of this style. In Croatian architecture Expressionism appeared roughly from around 1922 until the end of the 1920s and in the work of some architects even later, in the course of the 1930s. It occurred mainly under the influence of German and partly Austrian architecture and as a reflection of the incursion of Modernism, not as a result of the chaotic post-war climate, inflation or other economic changes. Architects of Croatian Expressionism did not form a homogenous group – they neither shared the same formation or social convictions, nor belonged to the same political circles. What they had in common were aspirations for the accommodation of architecture to the new world, its new needs and technical possibilities. Two German architects had a profound influence on the emergence of Expressionism in Croatian architecture – Hans Poelzig and Peter Behrens. Hans Poelzig trained three Croatian architects who in the course of the 1920s produced designs influenced by Expressionism: Drago Ibler, Zdenko Strižić and Josip Pičman. Especially important is the oeuvre of Drago Ibler, who created a whole series of Expressionist projects, most of which remained unbuilt. Particularly significant are his designs for the Epidemiology Institute (1922), for the Central Workers’ Insurance Office (1923) and for the Trading High School (1928) in Zagreb. His most important executed work of the 1920s was the interior of the theatre section of the pavilion of the Kingdom of Serbs, Croats and Slovenes at the 1925 Exposition internationale des Arts décoratifs et industriels modernes in Paris. Between 1926 and 1943 Ibler was the head of the Department of Architecture of the Academy of Fine Arts in Zagreb. Some of the architects trained at the Department, like Stjepan Planić, embraced Expressionist aesthetics. Peter Behrens’s influence on the emergence of Expressionism in Croatian architecture occurred through the work of his disciples educated at the Viennese Akademie der bildenden Künste (his most important Croatian disciple was Juraj (Georg) Neidhardt), as well as through his participation in the construction of the Zagreb City slaughterhouse complex. Behrens was the representative of architect Walter Frese from Berlin, who in 1928 produced the design for the city’s slaughterhouse, constructed between 1929 and 1931. Stylistic features of the buildings of this complex display a combination of elements of Expressionist and Neue Sachlichkeit architecture. Besides Behrens’s and Poelzig’s disciples, a number of Zagreb architects of the older generation also designed under the influence of Expressionist aesthetics. Among the most important is Ignjat Fischer, designer of the interior of the City Café at the Ban Jelačić Square in the very centre of Zagreb. It was executed in the years 1929-31 and represents the most important example of Expressionist architecture in Croatia. The City Café was designed under the influence of Poelzig’s works, more precisely of his most important building, the Grosses Schauspielhaus in Berlin. Almost at the same time, in 1928-30, the same square was embellished by the hotel and department store building owned by Svetozar Milinov and designed by Dioniz Sunko, which originally included an advertising tower with elements of Backsteinexpressionismus. A number of designs related to Expressionist architecture can be associated with the so-called Foundation block planned in the centre of Zagreb in late 1920s and early 1930s (among which stand out designs by Stjepan Planić, and Josip Pičman and Josip Seissel). From that time on, the International Style started to become fully dominant in Croatian architecture.

U članku se analiziraju vojne operacije na području Podvučjaka i bitka za Odžak kojom krajem svibnja 1945. završava Drugi svjetski rat na europskom tlu. U prvom dijelu prezentiraju se geografska i demografska obilježja ovog prostora, a u drugom borbe koje su se ondje vodile između 1941. i 1944. s posebnim osvrtom na organizaciju obrane, ali i međusobne odnose partizana i četnika. U trećem dijelu analizira se položaj Podvučjaka u završnim borbama 1945., a u četvrtom bitka za Odžak koja je okončana padom grada 27. ili 28. svibnja iste godine. U posljednjem dijelu pokušavaju se identificirati lokacije logora i grobišta, ali i počinitelja ratnih i poratnih zločina nad hrvatskim stanovništvom zatečenim na tom području potkraj svibnja 1945. Ključne riječi: Drugi svjetski rat, Bosna, Odžak, završne operacije, poginuli, nestali, ratni zločini Uvod Proljeće 1945. na našim prostorima obilježile su tzv. završne operacije za oslobođenje Jugoslavije okončane predajom Hrvatskih oružanih snaga (HOS) u Austriji sredinom svibnja. Rat je završio sedam dana kasnije, pisao je nakon rata Milan Basta, tadašnji politički komesar 51. vojvođanske divizije u sastavu Treće armije, koji je aktivno sudjelovao u navedenim događajima. 1 Jugoslavenski primjer nije bio izolirani slučaj. Iako je većina zapovjednika postrojbi Wehrmachta položila oružje u skladu s naredbama generala Jodla i generala Keitela o bezuvjetnoj predaji od 7. i 8. svibnja 1945., dio postrojbi pod zapovjedništvom feldmaršala Ferdinanda Schörnea nastavio se boriti sve do 11. i 12. svibnja. Slijedećeg dana predale su se i preostale njemačke postrojbe u Čehoslovačkoj. Garnizon na otoku Alderney u kanalu La Manche predao se 16. svibnja, a manja skupina njemačkih vojnika izgubila je radio vezu te ostala izolirana na norveškom otoku Svalbard sve do rujna 1945. Uvriježeno je mišljenje da je 1 " Rat je završen sedam dana kasnije " naslov je knjige Milana Baste, objavljene prvi put 1976. godine u Zagrebu u nakladi Globusa.

Tijekom prvoga stoljeća njegova postojanja, na sceni zagrebačkoga kazališta nastu- pao je veliki broj srpskih glumica i glumaca, a među njima je bio i danas zaboravlje- ni Strahinja Petrović. U razdoblju između dva svjetska rata jedan od najomiljenijih i najprominentnijih karakternih glumaca Drame HNK, ostvario je kao prvak brojne glumačke uspjehe potvrđujući se i kod publike i kod kritike svojim iznimnim glu- mačkim talentom tijekom dva desetljeća neprekidna boravka u Zagrebu. Njegova
je gluma redovito opisivana majstorskom jer mu je kao rijetko kome uspijevalo ostvariti kontakt srca s gledalištem – publika je stoga hrlila na blagajnu čim bi po- djela s njegovim imenom bila objavljena. Uspoređivali su ga s najvećim francuskim glumcem toga vremena Louisom Jouvetom, a odigrao je gotovo tristo uloga od kojih su neke ušle u povijest hrvatskoga kazališta kao neponovljive. Godine 1940., sluteći što se sprema, vraća se u rodni Beograd gdje do smrti 1964. godine djeluje u obje Drame – u Narodnom i u Jugoslavenskom dramskom pozorištu.

Detaljno se predstavlja urbanistički i arhitektonski razvoj istočnoga gradskog središta, čiju okosnicu čini potez triju trgova: Trga hrvatskih velikana, Trga žrtava fašizma i Krešimirova trga. Urbani status ovog područja stjecao se postupnim razvojem predjela koji se nazivao »dio istočno od Draškovićeve ulice«, što je na prijelazu 19. u 20. stoljeće značilo izvan okvira Innenstadta (»unutarnjeg grada«, odnosno gradskog središta). Autor ideje trgova na dijagonalnoj osi je Milan Lenuci, najpoznatiji zagrebački urbanist s kraja 19. i početka 20. stoljeća, koji je prvi istaknuo razvojne mogućnosti tog dijela grada. Detaljnom regulatornom osnovom 1905. zadao je ključne elemente predjela Vlaška – Draškovićeva – Branimirova – Bauerova, koji je realiziran zbrojem pojedinačnih gradnji i parcijalnih regulacija većinom 1920-ih i 1930-ih godina. Širenje grada prema istoku od početka 20. stoljeća (kada grad bitno pomiče svoju granicu u tom smjeru), intenzivna i kvalitetna izgradnja u međuratnom razdoblju (kada taj prostor postaje “novi” poslovno-stambeni dio grada), ali i dogradnja 1950-ih i 1960-ih godina, bili su smisleniji, urbanistički određeniji te prostorno i hortikulturno primjereniji negoli u drugim gradskim područjima, što ovoj gradskoj četvrti daje identitet i prepoznatljivost, karakterističnu cjelovitost i visoku ambijentalnu vrijednost. Poštivanje toga reprezentativnog urbanog prostora, koji je nastao angažmanom brojnih aktera u relativno kratkom segmentu 20. stoljeća, treba ugraditi u obvezni dio programa buduće sanacije i uređenja.