ࡱ> uwtq`bjbjqPqP.:: = | y@ @ @ @ @ @ @ @ $/hV@ @ @ @ 3^@ @ @ 4 K; I0y@ @ @ @  @ @ @ yD   Alen }uni Bra ki opus arhitekta Dinka Kova ia hommage nestoru `kole Akademik Dinko Kova i, roen u Splitu 1938., diplomirao je 1963. na Arhitektonskom fakultetu u Zagrebu u klasi profesora Vladimira Turine. Zapo inje karijeru radei u projektnim i graevinskim poduzeima u Splitu, a od 1979. djeluje u Zavodu za arhitekturu zagreba koga Arhitektonskog fakulteta (Centar u Splitu). Kao  izdanak zagreba ke akole arhitekture u prvim radovima dr~i se strogih linija i tada dominantnih postulata funkcionalizma, razvijajui vremenom vlastiti izri aj s prepoznatljivim elementima i materijalima lokalne tradicije. Kao istaknuti autor s posebnim mjestom u suvremenoj hrvatskoj arhitekturi, Dinko Kova i je 2011. nagraen Nagradom  Vladimir Nazor za ~ivotno djelo. Tijekom gotovo 50 godina rada Kova i je ostvario zavidan broj realizacija prete~ito djelujui u Splitu i njegovoj bli~oj okolici. Meu radovima se izdvajaju: Hotel  Ruskamen (Omia, 1966.), stambeni neboderi na Gripama (Split, 1966.), Opskrbni centar  Dalma (Split, 1974.-76.), Osnovna akola (}rnovnica 1989./90.), stambeno-poslovna zgrada  Dvornikovi dvori (Split, 1991.), Srednjoakolski centar (Split, 1992.), Studentski dom (Split, 2000.), te vei broj obiteljskih graevina poput kue Marjanovi-Popovi (Split-Meje, 1971), Mili i-Krstulovi (Ra~anj, 1972./73.), Pili (Mali Rat, 1985.), Stupalo (Split-Meje, 2000)... Posebno mjesto u Kova ievu opusu imaju velike urbanisti ke geste kojima je bitno utjecao na suvremeni razvoj svoga rodnoga grada, poput projekata ulica u Splitu 3 (novoizgraenom naselju za koje je temelje urbanisti ke postavke definirao slovenski tim Vladimir Muai, Marjan Be~anc i Nives Starc). Za jednu od njih, stambenu Ulicu brae Borozan (koautor M. Zori, 1970.-73.), tijekom samo jedne godine biva nagraen trima nagradama (Nagradom 8. zagreba kog salona, Republi kom nagradom  Borbe i Godianjom nagradom  Vladimir Nazor , 1974.). Dvije godine kasnije laureat je i Nagrade grada Splita za Ulicu Dinka `imunovia (Split 3, 1976.), a temu velikih stambenih kompleksa arhitekt Kova i zaokru~uje i treim autorskim pothvatom, Ulicom Mertojak (Split, 1980. ). Iako je svojim djelovanjem ponajviae obilje~io  grad pod Marjanom stvarajui nove splitske siluete i likovno sna~ne urbane dominante, Kova i je u paleti tipski i programatski razli itih projekata osobito dojmljiv dio opusa ostvario na otoku Bra u. Meu brojnim bra kim temama isti u se etiri nezaobilazne realizacije: hotel  Bretanide u Bolu, aerodrom Bra , te kue Kraljevi i `ore u Supetru. Meutim, tu je i niz manjih, neizvedenih ili tek djelomi no realiziranih bolskih projekata poput rekonstrukcije i dogradnje hotela  Elaphusa i  Borak , pla~nih objekata na Zlatnom ratu i Poto inama, restorana  Vidovica , arhitektonsko-urbanisti kog projekta Centra  Studenac & Paradigmatsko djelo Kova ieva bra kog opusa - Hotel  Bretanide u Bolu - izgraen je 1986. nakon osvojene prve nagrade na pozivnom natje aju iz 1984., gdje arhitekt afirmira ideju hotelskog sklopa polo~enoga gotovo uz samu morsku obalu i stopljenog s prirodom, gustom borovom aumom i maslinicima u zaleu. Kompleks naglaaeno obilje~ava ambijentalna kontekstualizacija te regionalni oblikovni izri aj inspiriran motivima i detaljima bolske povijesne arhitekture. Objekti su cijelom povrainom priljubljeni uz tlo u maniri dalmatinskih ruralnih naselja pa nastaje aglomeracija koja svojom prostranoau i nesimetri nim dvostreanim krovovima stvara novu topografiju urezanu u sliku okolnih natisnutih stabala& . Takvom igrom krovnih ploha autor nastoji ostati pritajen i skriven u pejsa~u (vidi se ~aljenje Kova ia za svakim poruaenim stablom, jednako kao ato je ~alio za ugaaenim ~ivotom svake masline pri izgradnji stambenih ulica u Splitu 3). Hotel je sinteza Dinkovih ~elja, uspomena i sjeanja, ato dovodi do neo ekivanih kompozicijskih kontrasta koji u jukstapoziciji stvaraju ansambl raznolikih mjerila i detalja:  balkon Julije uz parafrazu povijesne bifore sa stare pala e u Bolu, tende s malim ulazom nalik trgovini, dijelovi zida obraenog u kamenu rukom bra kih klesara, sve okru~eno klupama, pergolama i aetnicama u oblikovanome parku& Dogradnja hotelskog paviljona VI koja je uslijedila nekoliko godina kasnije, novoprojektirani je dodatak  usje en u dio prvotnog kompleksa. U vanjskom je plaatu objekt dobio suvremeni izri aj s niskim i izdu~enim unificiranim trakastim otvorima, pro eljem koje, oblo~eno pravilnim slogom bra koga kamena, ostavlja dojam zatvorenosti i jednostavnosti. Jedini kontinuirani element u konceptu cijeloga kompleksa je dvostreani krov nesimetri nog nagiba. Volumenski izduljena etveroeta~na graevina, suzdr~ano orijentirana prema uli noj strani, jednim se pro eljem otvara prema moru velikim terasama-vidikovcima, modularno slo~enima kroz tri eta~e, stvarajui u prizemlju trijem. Potpuno druga iji pristup vidljiv je u konceptu Zra ne luke Bra  (___.). Polo~en kao stijena u pustoj dolinu okru~enoj kraem i niskim raslinjem, aerodrom nastaje kao nova oaza unutar zaboravljenog prostora. Projektiran je poput pionirskog zahvata u divljini s puno entuzijazma za o~ivljavanjem nikada valoriziranog vrijednog kamenog pejsa~a u unutraanjosti otoka. Racionalnoj arhitekturi s longitudinalno oblikovanim aerodromskim korpusom kao svojevrsni je kontrapunkt postavljen vertikalni kontrolni toranj na rubu kompleksa. Jednako promialjeno Dinko Kova i pristupa i projektima manjega mjerila, s naglaskom na skladnom odnosu s prirodom. Kua Kraljevi (Supetar, ___.) oslikava upravo izrastanje graevine iz tla, njihovu simbiozu, pri emu objekt svojim temeljima probija zemlju dok se istovremeno kamen uspinje uz dijelove zida postajui gradbeni element kue. Maslina u dvoriatu i kupa kanalica na dvostreanom krovu podsjeaju na airi kontekst Dalmacije, ali i nadopunjuju u~e okru~enje crnogori ne aume, zvukova cvr aka i mirisa mora. Oblikovno druga ija, a mjerilom vea je kua `ore (Supetar, ___.), s geometrijski pravokutnim sustavom volumena koji se isprepliu, zadiru jedni u druge i stvaraju slo~enu prostornu kompoziciju. Ravnim krovom i konzolno izba enim gigantskim kasetiranim plo ama terasa podsjea na De Stijlovske tendencije igranja plohama, iako u ovom slu aju djeluje namjerno robusno i teako. Kao element lokalnoga upotrijebljen je bra ki kamen  Veselje , a u prizemlju se javlja parafraza trijema, ime se Kova i opet vraa karakteristikama regionalnoga u arhitekturi. Kasete ispod terasa reinterpretirani su element Kova ievih  bu~a za ptice koje svojom pojavom pridonose su~ivotu ovjeka s prirodom. Neugasivim entuzijazmom i kreativnim stvaranjem akademik Dinko Kova i realizirao je izniman arhitektonski opus osobenoga stila i prepoznatljivosti, ne povodei se za trendovskim temama oblikovanja. Unato  dugogodianjem projektantskom djelovanju, Kova i meu svojim najveim profesionalnim dometima visoko valorizira svoje pedagoako  remek-djelo' - Ljetnu akolu Bol  koju je osnovao i dugo godina vodio s namjerom da u mladima razvije i produbi ~elju za stvaranjem, za pravom arhitekturom& Buduim je arhitektima ponudio druga ije vizure na projektiranje, na rad bez suvremene u~urbanosti ili izoliranosti od drugih. Svake godine bi ponovno, ravnopravan u poletu, postajao dio grupe studenata na Bolu, koji se tek spremaju za utiranje vlastitog puta. Alen }uni arChiteCT DinkO Kova i'S BRA  OPUS hommage to the nestor of the school Academic Dinko Kova i was born in Split in 1938 and graduated at the Faculty of Architecture in 1963 in the class of Professor Vladimir Turina. He started his career working on projects and for construction companies in Split, and then in 1979 he began working at the Institute for Architecture, University of Architecture in Zagreb (at the Centre in Split). At the branch of the Zagreb School of Architecture, in his first works he incorporated strict lines dominated by functionality, before developing his own personal and unique form of expression which include elements and materials stemming from local traditions. d , @ B V d    " F T " 8 d f h >NT\"Lhl󺬺# *h# hCJOJQJ^JaJhCJOJQJ^JaJ hhCJOJQJ^JaJ&hZh5;CJOJQJ^JaJ&hZh5;CJOJQJ^JaJhhOJQJ^J<d24((..&2(22646;;|A~AAAgdk2$a$gdgdl,6 $(6Lflv 0P^":<Fx^l "2TὬhBwCJOJQJ^JaJ h>EhCJOJQJ^JaJ# *hhCJOJQJ^JaJ# *h# hCJOJQJ^JaJ hhCJOJQJ^JaJhCJOJQJ^JaJ> 4HJTZlv.<>@ 48HRTVnv04prPV`bn~  !!!2!F!T!!!4"B""""""""`# hEhCJOJQJ^JaJ hhCJOJQJ^JaJhCJOJQJ^JaJR`#n#p#t####$*$$$%P%%%% &l&x&z&&& ' ''x'z''''''''''4(()))):****z++++++++,,,h,,,,,,.$.&.<.L.P.j..л)hhB*CJOJQJ^JaJph hwT?hCJOJQJ^JaJ hhCJOJQJ^JaJhCJOJQJ^JaJE.........."/&/T/^/v///n0001F1J1t1v111(2223,3.3@3H3L3333,484P4T4444h55556660626>6|66666|7ɻɭɭɭɭɭɭɭɭɭɭɭɭɭɭɭɭɭɭɭɭɭ#hB*CJOJQJ^JaJphhCJOJQJ^JaJhBwCJOJQJ^JaJ hhCJOJQJ^JaJ)hhB*CJOJQJ^JaJph hIdhCJOJQJ^JaJ=|777788$9N9l9999999999:.:T:Z;;;;;&<:<R<n<v<<<<<<=&=n===>.>n>p>"?H?V?n????? @@L@@@AA$a$gd X$a$gd$a$gdk2gdk2gdH^B`BpBzBBBBB(CFCHCLCCCD D{D}D~DDDDDDFEF\\\\ ]]X]\]ܵzhzhz"hBwCJOJQJ^JaJmH sH "h#ICJOJQJ^JaJmH sH (hk2h#ICJOJQJ^JaJmH sH U"h+nCJOJQJ^JaJmH sH "hwp CJOJQJ^JaJmH sH (hk2hk2CJOJQJ^JaJmH sH "hk2CJOJQJ^JaJmH sH "hOjCJOJQJ^JaJmH sH !Dinko Kova i is considered an outstanding author within contemporary Croatian architecture, for which he received the  Vladimir Nazor Award for Life Achievement in 2011. Over the last 50 years, Kova i has produced an enviable number of realisations, mostly while working in Split and its environs, among which the following are worth noting: Hotel 'Ruskamen' (Omia, 1966), residential skyscraper on Gripe (Split, 1966), The 'Dalma' Shopping Centre (Split, 1974-76), the primary school building at }rnovnica (1989/90), the  Dvornikovi Dvori residential/office block (Split, 1991), the Secondary School Centre in Split (1992), the Student Home in Split (2000), as well as a large number of family housing, for example, the Marjanovi-Popovi House (Split-Meje, 1971), the Mili i-Krstulovi House (Ra~anj, 1972/73), the Pili House (Mali Rat, 1985), the Stupalo House (Split-Meje, 2000), etc. Larger urban projects, with which he influenced the contemporary development of his hometown, hold a special place in Kova i s opus, like the street project at Split 3 (a newly-built settlement based on urban planning defined by the Slovenian team Vladimir Muai, Marjan Be~anc and Nives Starc). For one of them, the residential street Ulica Brae Borozan (co-author M. Zori, 1970-73), he received three awards within one year (The 8th Zagreb Salon Award, the Republic Award 'Borba', and the annual 'Vladimir Nazor' Award, 1974). Two years later, he became a laureate and received the City of Split Award for Ulica Dinko `imunovi (Split 3, 1976). Architect Kova i then rounded off his theme of large residential complexes with a third project - Ulica Mertojak (Split, 1980). Although a significant part of his work has been focused on  the city beneath Marjan where he created new silhouettes and artistically powerful urban edifices, another part of his vast palette of work has been carried out on the Island of Bra . Among the numerous themes, there are four that remain indelible: Hotel 'Bretanide' in Bol, Bra  Airport, and the Kraljevi House and the `ore House in Supetar. There are also a number of smaller projects in Bol that have been only partly realised, like the reconstruction and extension of Hotels 'Elaphusa' and 'Borak', the beach site and objects at 'Zlatni Rat' and 'Poto ine', the Restaurant 'Vidovica', the architectural and urban project and Centre  Studenac , etc. A paradigm of Kova i s work within his Bra  opus is Hotel 'Bretanide in Bol, which was built in 1986 after his project won first prize at the public tender in 1984. Kova i s concept was to have a hotel complex that would lie almost by the sea, whilst merging with its natural environment  a dense pine forest and olive groves. The complex accentuates the contextualised ambient and local character inspired through motives and details that belong to Bol s architectural past. The objects extend at ground level in the manner of Dalmatian rural settlements, so that there is an agglomeration carved into the surrounding closely knit trees, creating a new topography achieved through spaciously positioned double eaves and asymmetrical roofs. In creating these roof surfaces, the author seeks to construct buildings that remain concealed and hidden within the landscape (one can sense the regret that Kova i feels for every tree that had to be felled, just as he regrets the felling of olive trees during the construction of the residential street at Split 3). The hotel is a synthesis of Dinko s wishes and desires, memories and mementos resulting in unanticipated contrasting compositions which juxtapose, creating an ensemble of dissimilar measures and details: the  Julija Balcony with historic double-arched windows taken from an old palace in Bol, awnings with small entrances, like those leading into shops, segments of stone walls, hewn by hand by stonemasons from Bra , surrounded by benches, pergolas and promenades within a landscaped park. The extension to the hotel, Pavilion VI, followed several years later and was cut into part of the initial complex. The object s outer faade is contemporary in style with low-lying, elongated and unified strip-like openings, a faade that leaves the impression of an enclosed space, simply fashioned and tiled in a layer of Bra  stone. The only element that continues to be included in the concept of the extension and the entire complex are double eaves and the asymmetrical slanting roofs. The volume of the elongated four-storey building faces the road while one of its faades has large terraces modularly layered over three floors, which provide a view of the sea, and a portico on the ground floor. Bra  Airport (___.) is completely different in concept. It is positioned like a rock within a barren valley surrounded by karst and shrubbery and is a new oasis within a forgotten space. This is a pioneer project in the wild, full of enthusiasm for the revitalisation of a stony landscape in the interior of the island never fully exploited. The core facilities of the airport lie along a longitudinal line and act as a counterpoint for the vertically positioned flight tower at the edge of the complex. Dinko Kova i also adopts a deliberated approach to less encompassing projects and stresses harmony with and in nature. The Kraljevi House (Supetar, ___.) represents a building that emerges from the ground on which it is built, mutual symbiosis wherein the foundation penetrates the soil on which it is laid, whilst the natural stone rises up to form parts of the walls, thereby becoming an element of the house. The olive tree in the courtyard and the extruded roof tiling remind one of Dalmatia in a broader context, but also supplement the surrounding evergreen woods, the singing of cicadas and the smell of the sea. The `ore House (Supetar, ___) is larger in size and differs in concept in that it has a geometrical right-angled system of volumes that intertwine, interrupt one another, as well as forming a complex spatial composition. The flat roof and the terrace which is made in the shape of gigantic protruding console slabs are reminiscent of the De Stijl style and tend towards interpolating surfaces, although, in this case, the terrace acts as an elongated and intentionally robust and heavy surface. The local element used is Bra  stone   Veselje , and the ground floor has a paraphrased porch, taking the building style back to typical local and regional architecture. The hollow spaces beneath the terrace are a reinterpreted element of Kova i s  holes for birds, stressing the coexistence of man and nature. Insatiable enthusiasm and inspired creativity have helped academic Dinko Kova i in the creation and realisation of his exceptional personalised architectural style and opus which bear the stamp of architecture that is imbued with its own specific originality, whilst devoid of trends. Despite his long-standing work on projects, Kova i considers the Summer School in Bol as a  masterpiece that ranks among his greatest and most valuable professional accomplishments. He founded and has run the school over a great number of years with the intention of awakening and developing creativity among young generations and by presenting true architecture, different viewpoints on architectural design, work that is not burdened with contemporaneous haste or that exists in isolation to future generations of architects. 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