engleski

Statecraft: Artwork and Projects for Villa Zagorje in Zagreb

Villa Zagorje was built in Zagreb between 1963 and 1965 as the residence of Josip Broz Tito. Today it serves as the official residence of the President of the Republic of Croatia. Its architecture, interior decorations, art commissions and landscape architecture embody the dynamic relationship between state and art, both in the period when the Villa was built and today. In addition to the specific pre-existing elements of architect Drago Ibler’s first project (1960- 1962), the Villa was built according to Vjenceslav Richter’s conceptual design (1963), and ultimately constructed by Richter and Kazimir Ostrogovic, both of whom operated within the Centar 51 architectural bureau. e architecture was determined by numerous requirements and restrictions, but the relationship between state and work of art was also reflected in the process of furnishing the building and equipping it with paintings and sculptures, as well as in its surroundings. In the interior of today’s Presidential palace and the subsequently built Annex, there were and still are exhibited over 200 purchased, donated and lent paintings and sculptures, mostly from the second half of the twentieth century, curated in order to reflect current perceptions and cultural politics of the state. This is also the case with the immediate surroundings of the Villa situated within the Pantovčak Park Forest, designed by landscape architects Silvana Seissel and Angela Rotkvic. While the architecture of the Villa has so far been the subject of interest of several researchers, this presentation will primarily focus on two aspects: the influence of the state and cultural policy on decorating the interior with paintings and sculptures during the building’s construction, as well as after the collapse of the SFRY, and the exterior project of landscape architecture in the context of Pantovcak Park Forest. The aim of the presentation is to demonstrate the complex relations between art and state, especially in the period of construction in the 1960s. A further goal is to highlight the similarities and differences with comparative examples of Tito’s residences in Yugoslavia and to point out the constant dilemmas over purchased and exhibited works of art, as well as the newer projects for landscape architecture and a sculpture park in the contemporary context.

Villa Zagorje ; Vjenceslav Richter ; Kazimir Ostrogović ; Krsto Hegedušić ; Miljenko Stančić ; artwork ; architecture

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