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Operacijo delno financira Evropska unija, in sicer iz Evropskega sklada za regionalni razvoj ter Ministrstvo za izobraĹževanje, znanost in ĹĄport. Operacija se izvaja v okviru Operativnega programa krepitve regionalnih razvojnih potencialov za obdobje 20072013, razvojne prioritete: Gospodarsko-razvojna infrastruktura, prednostne usmeritve IzobraĹževalno-raziskovalna infrastruktura.


ZAL OŽNIK IN IZDAJATEL J PUBL IS HED BY

Univerza v Mariboru, Fakulteta za elektrotehniko računalništvo in informatiko University of Maribor, Faculty of Electrical Engineering and Computer Science Smetanova 17, SI-2000 Maribor G L AV NI IN ODG OVORNI UREDNIK EDITOR IN CHIEF

Maribor, december 2015 Vse pravice pridržane. Ponatis celote ali posameznih delov dovoljen le z dovoljenjem Fakultete za elektrotehniko, računalništvo in informatiko Univerze v Mariboru. All rights reserved. No part of this publication may be reproduced without the permission of the Faculty of Electrical Engineering and Computer Science

Damir Mlakar

AV TORJI BES EDIL AUTHORS OF T HE T EXT

David Mišič (Baroničina hiša v kontekstu časa/ The Baroness’ House in the Context of its time), Nina Nahtigal, Stanislav Kocutar, Mitja Mulec ODG OVORNI VODJA PROJEKTA PROJEC T MANAG ER

David Mišič, arhitekt/Architect, Styria Arhitektura d.o.o. ODG OVORNA KONS ERVAT ORKA L EADING C ONS ERVAT OR

Nina Nahtigal, višja konservatorka/Senior Conservator, Zavod za varstvo kulturne dediščine Slovenije/Institute for the Protection of Cultural Heritage of Slovenia

Operacijo delno financira Evropska unija, in sicer iz Evropskega sklada za regionalni razvoj ter Ministrstvo za izobraževanje, znanost in šport. Operacija se izvaja v okviru Operativnega programa krepitve regionalnih razvojnih potencialov za obdobje 2007‑2013, razvojne prioritete: Gospodarsko‑razvojna infrastruktura, prednostne usmeritve Izobraževalno‑raziskovalna infrastruktura.

UREDNIK F OT OG RAF IJE EDIT OR OF THE PHOT OG RAPHY

Dr. Bogdan Dugonik F OTOG RAF IJE PHOT OG RAPHY

Dr. Bogdan Dugonik, Pokrajinski arhiv Maribor/ Regional archives Maribor, Zavod za varstvo kulturne dediščine Slovenije/Institute for the Protection of Cultural Heritage of Slovenia L EKT ORIRANJE PROOF READING

Tina Sovič, Michael Manske OPOMBE IN PODPIS I F OT OG RAF IJ NOT ES AND PHOTO CAPTIONS

Joanna Bertoncelj PREVOD T RANS L AT ION

Doroteja Hojnik OBL IKOVANJE IN PREL OM DES IG N AND L AYOUT

Matjaž Tomažič, Kontrastika d.o.o. NAKL ADA NUMBER OF C OPIES

550

CIP - Kataložni zapis o publikaciji Univerzitetna knjižnica Maribor 69.059.7:719(497.4Maribor) BARONIČINA hiša = Baroness’ house : 19022015 / [glavni in odgovorni urednik Damir Mlakar ; avtorji teksta David Mišič ... [et al.] ; fotografije Bogdan Dugonik, Pokrajinski arhiv Maribor, Zavod za varstvo kulturne dediščine Slovenije ; prevod Doroteja Hojnik]. - Maribor : Fakulteta za elektrotehniko, računalništvo in informatiko, 2015 ISBN 978-961-248-499-6 1. Vzp. stv. nasl. 2. Mišič, David 3. Mlakar, Damir COBISS.SI-ID 84801025


VSEBINA

MARIBOR IN SECESIJA

CONTENTS

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Podoba Maribora na prelomu stoletja

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Arhitekt Fritz Friedriger in Maribor

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ZGODOVINA BARONIČINE HIŠE

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Baroničina hiša v kontekstu časa

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Stavbna zgodovina Baroničine hiše

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PRENOVA

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Konservatorski in arhitekturni izzivi pri prenovi

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Gradbeno-konstrukcijski izzivi obnove

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Baronica – neobičajna hiša med sijajem preteklosti in izzivi prihodnosti

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MARIBOR AND THE SECCESSION

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The appearance of Maribor at the turn of the century

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The architect Fritz Friedriger

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and Maribor

HISTORY OF THE BARONESS’ HOUSE

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The Baroness’ house in the context of its time

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Construction history

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RECONSTRUCTION

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Conservation and architectural challenges

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Construction challenges

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The Baroness – an unusual house between former glory and future challenges

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PROF. DR. IGOR TIČAR Rektor Univerze v Mariboru Rector of the University of Maribor

Zaveza vsakega naroda in vsakega posameznika je, da spoštuje kulturno dediščino. Baroničina hiša, ki spada med najpomembnejše mariborske stavbe secesijskega časa in je preživela obe vojni, je zadnja desetletja krepko propadala. Univerza v Mariboru je pri Evropskem skladu za regionalni razvoj ter Ministrstvu za izobraževanje znanost in šport RS pridobila potrebna sredstva za obnovo. Baroničina hiša je tako že drugi kulturni spomenik, ki ga je univerza s financerji prenovila in dala v uporabo za študijske procese. Z aktivnim vključevanjem kulturne dediščine v vsakdan se pridružujemo skrbi za ohranjanje kulturne dediščine za naše zanamce. Razvojna prioriteta za izvedbo te operacije v okviru Operativnega programa krepitve regionalnih razvojnih potencialov za obdobje 2007–2013 je bila gospodarsko-razvojna infrastruktura; prednostna usmeritev pa izobraževalnoraziskovalna infrastruktura.

Each nation and individual is obliged to respect its cultural heritage. The Baroness’ House, which is one of Maribor’s most important Vienna Secession buildings, survived both world wars. However, it was neglected and dilapidated for decades. The University of Maribor obtained funding from the European Regional Development Fund and the Ministry of Education, Science and Sport of the Republic of Slovenia and thus secured the resources required for its renovation. The Baroness’ House is the second example of a cultural monument that the University of Maribor has reconstructed for educational use with the aid of European and national funds. By actively integrating cultural heritage in our everyday lives, the University has joined those institutions committed to preserving heritage for future generations. The operation was implemented under the Operational Programme “Strengthening Regional Development Potentials” for the period 2007-2013, Development Priority “Economic Development Infrastructure”,


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Glavni namen investicije v obnovo je bil zagotovitev površin za raziskovalne in študijske dejavnosti Fakultete za elektrotehniko, računalništvo in informatiko Univerze v Mariboru. Z zagotovitvijo ustreznih razmer za dejavnosti inštitutov in laboratorijev v okviru FERI bo projekt pripomogel k večji prepoznavnosti institucije in njeni povezanosti z gospodarstvom. Na Univerzi v Mariboru smo zvesti kulturni dediščini in jo uspešno prepletamo s študijskimi procesi in prostori. Tako prenovljeni Baroničini hiši želim, da bodo v njej uporabniki bivali z lahkim korakom in navdihujočimi mislimi, kot je navdihujoča stavba sama.

and Priority Axis 2 “Investments into Public Higher Education and Research Infrastructure of National Importance.”. The primary aim of the investment is to ensure suitable premises for scientific research and educational activities of the Faculty of Electrical Engineering and Computer Science of the University of Maribor. By ensuring relevant conditions for the implementation of research activities within the framework of institutes and labs, the project contributes to greater recognition of the institution and stronger ties with the industry. The University of Maribor is committed to preserving Slovene cultural heritage and integrating it with educational processes and premises. The reconstructed Baroness’ House deserves to have occupants with high spirits and thoughts as inspiring as the building itself.


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PROF. DR. BORUT ŽALIK Dekan Fakultete za elektrotehniko računalništvo in informatiko Dean of the Faculty of Electrical Engineering and Computer Science Fakulteta za elektrotehniko, računalništvo in informatiko (FERI) je danes priznana in ugledna tehniška fakulteta, na kateri je diplomiralo že več kot 8500 študentov, doktoriralo pa 265 doktorandov. Fakulteta je postala največja članica Univerze v Mariboru s skoraj 2000 študenti, 639 bruci in 300 zaposlenimi. Je dobro organizirana, ambiciozna, raziskovalna in izobraževalna institucija, ki je tradicionalno dobro povezana tudi z gospodarstvom. FERI goji discipline, ki krojijo moderni svet. Te discipline so močno prepletene in povezane, njihova sinergija je ključna za uspešnost in prebojnost FERI. Zato tudi zadnja prostorska pridobitev, Baroničina hiša oziroma objekt G3, ne bo namenjena samo eni disciplini ali enemu inštitutu, temveč bo navdih za vse zaposlene in za vse študente. Res je, da bomo nekoliko več prostora namenili laboratorijem in inštitutom, ki so v največji prostorski stiski, da bodo dodatne učilnice razbremenile

The Faculty of Electrical Engineering and Computer Science (FERI) is a recognized and prestigious institution. Until now, 8,500 bachelor’s and master’s students and 265 PhD students have obtained their degrees there. The Faculty is the largest within the University of Maribor, with almost 2,000 students, 639 freshmen and 300 employees. FERI is a well-organised, ambitions research and educational institution with traditionally close ties to the industry. It is advancing scientific disciplines that have an impact on the modern world. These disciplines are tightly interwoven, and their synergy represents one of FERI’s key success factors. For this reason, the newly acquired G3 building – the Baroness’ House – will not just be devoted only to one discipline or institute but will serve as a source of inspiration for all employees and students. Nonetheless, more space will be devoted to those labs and institutes currently suffering from severe room shortages since additional lecture halls will reduce


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natrpane urnike. A novi prostori bodo predvsem navdih za nove ideje, za dodatno povezovanje in kresanje novih zamisli vseh zaposlenih in študentov študijskih programov vseh treh stopenj. Baroničina hiša bo na široko odprla vrata študentom, saj smo zanje namenili nekaj prostorov, kjer bodo lahko povsem samostojno ustvarjali 24 ur na dan. Prepričani smo, da bodo v teh prostorih vzniknile mnoge prebojne ideje in da bodo tako raziskovalci kot študentje FERI in Univerze v Mariboru še lažje postali gospodarji svoje usode.

busy timetables. But above all, the new building will inspire innovative ideas, networking, cooperation and important scientific discoveries of employees and students of all three cycles. Several rooms of the G3 building will be devoted to students only, where they will be able to conduct scientific research 24/7. I am deeply convinced that many innovative ideas, empowering both researchers and students to become masters of their own destiny, will be produced in this building.


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DAVID MIŠIČ Arhitekt Architect

Človek je stalno spreminjajoče se bitje, z njim se spreminjata tudi življenjsko okolje in prostor. Pomemben del spreminjajočega se življenjskega prostora so stavbe. Ker živijo dlje od nas, so stavbe najbolj trajni pričevalci naše preteklosti. Predstavljajo neprecenljivo in nenadomestljivo vrednoto, ki zaznamuje našo družbeno in kulturno identiteto. Stavbe naše preteklosti so odprte knjige, ki pripovedujejo zgodbe vizionarjev, ljudi in njihovih arhitektov. Stavbe so osnovni gradniki mesta in družbe, prostora in kulture. So spojina materialov, med katerimi ima vsak svojo barvo, teksturo, relief, temperaturo, trdnost. Ker so del naše preteklosti, v sebi skrivajo odgovore o naši sedanjosti. Vse dokler smo jih pripravljeni brati, poslušati in se jih dotakniti. Človek je stalno spreminjajoče se bitje in njegov proces spreminjanja je bolj dinamičen od procesa, ki ga je sposobna absorbirati arhitektura. V kontekstu družbe so stavbe stalno

Human beings are constantly changing, and their living environment changes with them. Buildings constitute an important part of this fluctuating environment. Since structures live longer than humans, they serve as the most permanent witnesses of our past. They are also of priceless and irreplaceable value in terms of our social and cultural identity. The buildings of our past are open books that tell the stories of visionaries, people and architects. They represent the cornerstones of cities and societies, environments and cultures. They consist of a mixture of materials, each with its specific colour, texture, relief, temperature and solidity. Since they are a part of our past, we can find hidden clues related to our present – as long as we are willing to read, hear or touch them. Humans are constantly changing, and their transformation process is far more dynamic than the architectural process is able to absorb. In the context of society, buildings can be thought of as constantly changing organisms characterised by


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spreminjajoči se organizmi, ki jih zaznamujejo trendi in slogi. So nosilke informacij in arhitektura je njihova pričevalka, DNK teh organizmov. Njihova sposobnost prilagajanja novim družbenim in socialnim potrebam je vedno težja. Ta razkorak potencira tudi industrija, ki s formulo ekonomičnosti ustvarja argument, da nove stavbe v celoti nadomestijo obstoječe. Nove stavbe obljubljajo utopijo za vsako ceno. Ustvarjajo potrebe uporabnikov in dajejo iracionalno prednost ekonomiji in tehnologiji. S tem se prepogosto ustvarja vrzel med arhitekturo in civilno družbo, vrzel med individuumom in institucijo. Ta proces že dlje časa povzroča nevarno sprejemanje in uveljavljenje norm, ki spodbujajo konformizem družbe in brezbrižnost duha. Proces ustvarja pasivnost ljudi, ki zastira človekov elementarni čut po lepem. V primerjavi z novogradnjo, ki je ovoj predpisanega programa, je pri obnovah starih stavb proces usmerjen v odnos

trends and styles. They are the carriers of information, and architecture is their witness, their DNA. Their ability to adapt to new societal and social needs is fading. This gap is highlighted by those who argue that new constructions should entirely replace older ones, especially for reasons of cost-effectiveness. New buildings promise utopia at any price. The economy and technology heavily prioritize them, thereby creating a gap between architecture and civil society, between individuals and institutions. For a long time, this process has been pushing towards a dangerous adoption and enforcement of standards that encourage conformism and indifference of spirit. This process contributes to the passivity of people by veiling their elementary sense of beauty. Compared to new buildings, which represent the shell of a mandatory programme, the reconstruction process of older buildings focuses on the relationship between existing matter and its function. This relationship represents a compromise


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med obstoječo materijo ter funkcijo, ki jo ta materija prenese. Odnos je kompromis med vrednotenjem historičnih struktur in uporabnikovimi potrebami, kar v vlogi načrtovalcev in arhitektov zahteva precejšnji izziv in odgovorne odločitve. Obnova historičnega objekta, kakršna je secesijska stavba Baroničina hiša, obuja zavest o ponovni oživitvi elementarnih človekovih potreb v času njenega nastanka. Baroničina hiša nam, arhitektom, v procesu revitalizacije in obnove spodbuja ponovni premislek in obuja zavest osnovnih stavbnih gradnikov. S posegi v stavbno materijo odkrivamo simptome, s katerimi zaznavamo objektivne in subjektivne spremembe stavbe. Ta spoznanja izostrijo retrospektivo časa, asimilirajo preteklost in tematizirajo sedanjost.

between the evaluation of historic structures and user needs, which requires builders and architects to invest great effort and reach responsible decisions. The reconstruction of a historic building, such as the Vienna Secession Baroness’ House, encouraged a deep awareness of the revival of elementary human needs during the time of its construction. In the process of revitalization and restoration, the Baroness’ House encourages us, the architects, to carefully deliberate and reflect on basic architectural elements. By modifying the building’s matter, we discover symptoms, on the basis of which we can detect objective and subjective modifications of the construction. These discoveries sharpen the retrospective of time, assimilating the past and exploring our present.


MARIBOR IN SECESIJA MARIBOR AND THE SECCESSION


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1. Jože Curk, Urbana in gradbena zgodovina Maribora, Maribor skozi stoletja (ur. Jože Curk, Bruno Hartman, Jože Koropec), Maribor 1991, str. 536. Jože Curk, Urban and building history of Maribor, Maribor through centuries (ed. Jože Curk, Bruno Hartman, Jože Koropec), Maribor 1991, p. 536

PODOBA MARIBORA NA PRELOMU STOLETJA

THE APPEARANCE OF MARIBOR AT THE TURN OF THE CENTURY

Da bi bolje razumeli zgodovino, nastanek in oblikovanje Baroničine hiše, jo je treba umestiti v širši prostorski, zgodovinski, arhitekturni in slogovni kontekst.

In order to better understand the history, origin and design of the Baroness’ House, we must first examine its broader spatial, historical, architectural and stylistic context.

Baroničino hišo so zgradili v nekdanjem Koroškem predmestju, ki se je razprostiralo zahodno od starega mestnega jedra, ob Koroški cesti, in je bilo skupaj z Graškim in Magdalenskim predmestjem priključeno mestu decembra 1850, 1 kar je za predmestja pomenilo začetek živahne gradbene dejavnosti. Konec 19. stoletja je bilo Koroško predmestje razdeljeno na tri sklope. Osrednji del predmestja med Mladinsko in Smetanovo ulico so še vedno zavzemali pokopališče, javni nasad in vojaško vežbališče. Na vogalu Strossmayerjeve ulice in Gosposvetske ceste je stal samostan šolskih sester, polja, prepredena s poljskimi potmi, pa so se razprostirala od Vrbanske ulice proti zahodu. Zelene površine z nasadi so bile tudi med Vilharjevo, Kajuhovo in Kosarjevo ulico, dalje od

The Baroness’ House was built in the former Koroska suburb located to the west of today’s city centre, along Koroska Street. Together with the Graz and Magdalena suburb, it was merged with the city in December 18501, which resulted in large-scale construction throughout the entire area. By the end of the 19th century, the Koroska suburb was dived into three parts. The cemetery, a public plantation and military training facilities were located in the central part between Mladinska and Smetanova Street. At the corner of Strossmayer Street and Gosposvetska Street, a monastery of school sisters was located. Fields with country lanes stretched from Vrbanska Street to the west. Green areas with plantations could also be found between Vilhar, Kajuh and Kosar Street, whereas plantations of


1 Maribor in secesija

PODOBA MARIBORA NA PRELOMU STOLETJA 

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1 Maribor and the Seccession

THE APPEARANCE OF MARIBOR AT T H E T U R N O F T H E C E N T U RY 

Načrt mesta iz okoli leta 1900 City map from around 1900


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1 Maribor in secesija

PODOBA MARIBORA NA PRELOMU STOLETJA 

1 Maribor and the Seccession

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THE APPEARANCE OF MARIBOR AT T H E T U R N O F T H E C E N T U RY 

Načrt mesta iz okoli 1910 - prikaz Koroškega predmestja. City map from around 1910 - image of the Koroška suburb

Sadjarsko - vinarska šola Fruit and viticulture School

Vila Transilvanija The Transilvanija Villa Langerjeva vila The Langer Villa Pokopališče Cemetery Vojaško vežbališče Military training ground Samostan šolskih sester The Monastery of the School Sisters Baroničina hiša The Baroness‘ House


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Pogled na Koroško predmestje v začetku 20. stoletja The view on the Koroška suburb at the beginning of the 20th Century

Kosarjeve ter severno od Vinarske ulice pa so se razprostirali nasadi vinsko-sadjarske šole. Četrt vil je začela nastajati med Trubarjevo in Vilharjevo ulico po letu 1850. 2

2. Ibid., str. 536–537. Ibid., p. 536–537.

3. Antoša Leskovec, Zgodovina uprave v Mariboru 1752–1941, Maribor skozi stoletja (ur. Jože Curk, Bruno Hartman, Jože Koropec), Maribor 1991, str. 273. Antoša Leskovec, History of the Administration in Maribor 1752-1941, Maribor through centuries (ed. Jože Curk, Bruno Hartman, Jože Koropec), Maribor 1991, p. 273.

V tem obdobju sta bila za razvoj mesta pomembna dva župana. Inženir Aleksander Nagy (županoval je med letoma 1886–1902) je bil iz gradbene stroke in je za mnoge stavbe tudi sam pripravil načrte. V Mariboru je uredil higienske razmere, asfaltirati je dal pločnike in urediti nasade. Za glavni dosežek je imel Nagy izgradnjo vodovoda leta 1902, prav zaradi t.i. vodovodne afere pa je še istega leta tudi odstopil. 3 Nasledil ga je dr. Ivan Schmiderer, ki

the viticulture and fruit-growing school were located north of Vinarska Street. The villa quarter sprang up between Trubar and Vilhar Street after 1850.2 At that time, two mayors played an extremely important role in the development of the city. The engineer Aleksander Nagy (mayor from 1886 to 1902) came from the construction sector and designed various building. He helped improve city hygiene, asphalted pavements and constructed plantations. His most important contribution was the construction of a water distribution system in 1902. Unfortunately, he was involved in an affair surrounding its construction and resigned that same year.3 His successor


1 Maribor in secesija

1 Maribor and the Seccession

je bil dolga leta Nagyjev namestnik in je županoval med letoma 1902–1919. Izpeljal je dve pomembni nalogi. Začel je elektrifikacijo Maribora in za ta namen tudi gradnjo hidroelektrarne Fala. 4 Drugi projekt, ki je naletel na velike polemike, v katerih je sodeloval tudi Fritz Friedriger, 5 je bil izgradnja novega državnega mostu na trasi Gosposka ulica–Glavni trg. 6 Most je degradiral prej enovito zasnovan srednjeveški trg, saj je z rušitvijo stavbnega tkiva trg izgubil svoj jugovzhodni vogal.

was Dr. Ivan Schmiderer, who served as deputy mayor under Nagy for many years and served as mayor from 1902 to 1919. He implemented two important projects: he initiated the electrification of Maribor and, for this purpose, also began the construction of the Fala hydroelectric power plant on the Drava River4. Another project, in which Fritz Friedriger5 participated and that sparked considerable controversy, was the construction of a new national bridge between Gosposka Street and Main Square6. The bridge downgraded the uniformly designed medieval square and lost its south-eastern corner with the demolition of its architectural fibre.

PODOBA MARIBORA NA PRELOMU STOLETJA

Počasi, z regulacijo poljskih poti v ulice in ceste, se je s četrti ob mestu Maribor, zahodno od Trubarjeve ulice, širila zazidava vil in hiš v ulice zahodneje in severozahodneje. Številni stavbeniki, gradbeni mojstri in tesarji so gradili stavbe v sredini 19. stoletja še v neoklasicističnem arhitekturnem stilu, ki se je počasi umaknil iz Maribora z deli Josefa Hasslingerja, Antona Janeza Wagnerja, Janeza Jurija Nafza in drugih. 7

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THE APPEARANCE OF MARIBOR AT T H E T U R N O F T H E C E N T U RY

By transforming rural areas and country lanes into municipal roads and streets, the construction of villas and houses gradually spread from quarters located to the west of Trubar Street further west and northwest. In the mid-19th century, many architects, builders and carpenters still constructed buildings in the neoclassical style, which

4. Z gradnjo Fale naj bi bil povezan tudi Czeike, ustni vir: Eva Dvorakova, Maribor. Czeike is to be connected with the construction of the hydroelectric power plant Fala, Oral source: Eva Dvorakova, Maribor. 5. Fritz Friedriger, Über Bauangelegenheiten der Stadt Marburg, Marburger Zeitung, 18. 4. 1912, str. 2–3, 20. 4. 1912, str. 2–3. Povzetek objavljen v: Jelka Pirkovič – Peter Cafuta – Hans Friedriger, Fritz Friedriger in Maribor, Maribor 1999, str. 18–22. Fritz Friedriger, About the Construction Matters in the City of Maribor, Marburg newspaper, 18. 4, 1912, p. 2-3, 20, 4, 1912, p. 2-3. Summary published in: Jelka Pirkovič - Peter Cafuta - Hans Friedriger, Fritz Friedriger and Maribor, Maribor 1999, p. 18-22. 6. Leskovec 1991, cit. št. 7, str. 273–275. Leskovec 1991 cited No. 7, p. 273-275.2.

7. Jože Curk, Mariborski gradbeniki v času baroka in klasicizma, Časopis za zgodovino in narodopisje, LVII, 1986, str. 300–301.


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Samostan šolskih sester (druga polovica 19. stoletja), stoji na vogalu Strossmayerjeve ulice in Gosposvetske ceste; na levi je nekdanja samostanska dekliška šola, danes III. gimnazija.

The Monastery of the School Sisters (2nd half of the 19th Century) stands on the corner of the Strossmayer and Gosposvetska Street; on the left side there is the former Monastery girls’ school, today the III. Highschool


1 Maribor in secesija

1 Maribor and the Seccession

Neoklasicistični videz je nadomestil historicizem s svojimi eklektičnimi slogi in je hitro postal priljubljen med mariborskim meščanstvom. Konec 19. stoletja sodijo med najbolj dejavne stavbenike Rudolf Kiffmann, Ubald Nassimbeni, Andrej Tschernitschek, Adolf Baltzer, Jurij Glaser in Fritz Friedriger. 8

slowly disappeared from Maribor with the works of Josef Hasslinger, Anton Janez Wagner, Janez Jurij Nafz and others.7 Neoclassical architecture was replaced by historicism with its eclectic styles, which were enjoying increasing popularity among Maribor’s bourgeoisie. By the end of the 19th century, Rudolf Kiffmann, Ubald Nassimbeni, Andrej Tschernitschek, Adolf Baltzer, Jurij Glaser and Fritz Friedriger8 were among the most active architects.

PODOBA MARIBORA NA PRELOMU STOLETJA 

Med najbolj znane tuje arhitekte, ki so v drugi polovici prejšnjega stoletja delali v Mariboru, pa lahko prištevamo dunajskega arhitekta Richarda Jordana, graškega profesorja Leopolda Theyerja in češkega arhitekta Jana Veyricha. Baroničina hiša je bila sezidana na dveh parcelah, na vogalu Vrtne (Garten Gasse) in Mozartove ulice (Mozart Strasse) – danes Prežihova in Smetanova ulica. Zgrajena je bila kot najemna večstanovanjska stavba, ki je bila postavljena v takrat nereprezentančno predmestno območje. Njeno vrednost

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THE APPEARANCE OF MARIBOR AT T H E T U R N O F T H E C E N T U RY 

In the second half of the previous century, the most famous foreign architects working in Maribor were Richard Jordan from Vienna, Professor Leopold Theyer from Graz and the Czech architect Jan Veyrich. The Baroness’ House occupies two lots at the intersection of the former Garten Gasse and Mozart Street – today known as Prežihov and Smetanova Street. It used to be a typical urban apartment house set in an unfashionable suburban

7. Jože Curk, Maribor’s builders during the Baroque and Classicism, Journal of History and Ethnography, LVII, 1986, p. 300-301.

8. Antoša Leskovec, Razvoj gospodarstva v Mariboru 1752–1941, Maribor skozi stoletja (ur. Jože Curk, Bruno Hartman, Jože Koropec), Maribor 1991, str. 381–382. Antoša Leskovec, Development of the economics in Maribor during 1752–1941, Maribor through Centuries (ed. Jože Curk, Bruno Hartman, Jože Koropec), Maribor 1991, p. 381–382.


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9. Jelka Pirkovič, Breda Mihelič: Secesijska arhitektura v Sloveniji, Ljubljana 1997, str. 114 Jelka Pirkovič, Breda Mihelič: Vienna Secession Architecture in Slovenia, Ljubljana 1997, p. 114

Zgoraj: Ob Strossmayerjevi ulici je bilo med leti 1783 in 1942 obzidano mestno pokopališče s kapelico Top: By the Strossmayer Street there was a fortified town cemetery with a chapel

naj bi dvigovalo predvsem oblikovanje zunanjščine po zadnji dunajski modi. 9 Stavbo je v letu 1903 začelo graditi stavbno podjetje mariborskega arhitekta Fritza Friedrigerja. Zgrajena je bila za baronico Emmo Mixich Rast, po kateri je stavba dobila tudi ime.

Sadjarsko - vinarska šola je bila zgrajena leta 1905; šola je imela velik pomen za Maribor in tudi za celotno Štajersko Fruit and viticulture School was built in the year 1905; the school had an important meaning for Maribor as well as for the whole Styria

area. Its value should have been boosted by the design of the exterior in the latest Viennese style9. In 1903, Fritz Friedriger’s company began with the initial construction works. The house was built for Baroness Emma Mixich Rast and was named after her.


1 Maribor in secesija

PODOBA MARIBORA NA PRELOMU STOLETJA 

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1 Maribor and the Seccession

THE APPEARANCE OF MARIBOR AT T H E T U R N O F T H E C E N T U RY 

Kavarna Park v mestnem parku (danes akvarij), delo arhitekta Maksa Czeikeja iz leta 1922 Park Café in the city park (today the aquarium), the work of the architect Maks Czeike from the year 1922


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Langerjeva vila (Mladinska 29) s parkom - nastala je leta 1843 za industrialca Josepha Langerja The Langer Villa (Mladinska Street 29) with the park – built in 1843 for the industrialist Joseph Langer


1 Maribor in secesija

PODOBA MARIBORA NA PRELOMU STOLETJA 

1 Maribor and the Seccession

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THE APPEARANCE OF MARIBOR AT T H E T U R N O F T H E C E N T U RY 

Vila Transilvanija (Mladinska 45) iz leta 1910, ena najpomembnejših stvaritev Fritza Friedrigerja (arhivska fotografija) The Transilvania Villa (Mladinska 45) – the vila from the year 1910 represents one of the most important creations of Fritz Friedriger (archive photo)


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10. Več biografskih podatkov v: Cafuta – Golob 1998, cit. št. 2, str. 12–30. Further biographical data: Cafuta - Golob 1998 cit. No. 2, p. 12-30.

11. Gradbena dejavnost Fritza Friedrigerja in Maksa Czeikeja v Mariboru; Martina Perše, Anja Premk, Natalija Zanoški; ZUZ – XLIX – 2013. Construction activity of Fritz Friedriger and Max Czeike in Maribor; Martina Perše, Anja Premk, Natalija Zanoški; Zuz - XLIX - 2013. 12. Fritz Friedriger in Maribor (1894–1920), Umetnostna galerija Maribor, 1999. Fritz Friedriger and Maribor (1894–1920), Maribor Art Gallery, 1999.

ARHITEKT FRITZ FRIEDRIGER IN MARIBOR

THE ARCHITECT FRITZ FRIEDRIGER AND MARIBOR

Arhitekt Fritz Friedriger je bil rojen leta 2. avgusta 1859 v mestu Schässburg (Sighişoara) v Transilvaniji staršem nemške narodnosti. 10 Že tam se je izučil za gradbenega mojstra, na Akademiji upodabljajočih umetnosti na Dunaju pa je med letoma 1883 in 1885 študiral pri profesorju Teophilu Edvardu von Hansnu. Študij arhitekture je končal kot eden njegovih najboljših študentov.

The architect Fritz Friedriger was born on 2 August 1859 in Sighișoara, Transylvania, to parents of German nationality10. He learned the trade in his home town, but left for Vienna to study architecture at the Academy of Fine Arts (1883-1885) under the supervision of Professor Theophil Edvard von Hansen. He completed his education as one of Hansen’s best students.

V Maribor se je preselil iz 100 km oddaljenega madžarskega mesta Kermendin/Körmend leta 1894. Še istega leta je v Mariboru ustanovil stavbno podjetje – sprva je sodeloval z arhitektom Robertom Schmidtom, 11 leta 1910 pa je ustanovil novo podjetje v družabništvu z mlajšim kolegom Maxom Czeikejem. 12 V Mariboru je bil gradbeno dejaven med letoma 1894–1913, njegov opus je mnogoštevilen in raznolik. Njegova dela so nastajala po celotnem mestu, zgoščena pa so prav v Koroškem predmestju.

In 1894, he left Körmend (Hungary) and moved to Maribor, where he established, in the same year, a construction company together with the architect Robert Schmidt11. Later he established another company and was joined by a young apprentice named Max Czeike, a talented young architect who would become Friedriger’s partner in the company in 191012. In Maribor, he was active in the period from 1894 to 1913; his body of work is extensive and diverse. He designed buildings in the entire city, the majority of which are located in the Koroska suburbs.


1 Maribor in secesija

ARHITEKT FRITZ FRIEDRIGER IN MARIBOR 

Načrtoval je tako zasebne kot javne objekte. V Mariboru so po njegovih načrtih zgradili več kot sedemdeset stavb – prevladujejo pa stanovanjske hiše, ki so večinoma eno- ali dvodružinske – te so bile zgrajene kot najemniške hiše. Glede na kvaliteto bivanja v posamezni enoti sodijo stanovanjske hiše v več razredov. Najslabša stanovanja so majhna, eno- do dvosobna, z ločeno kuhinjo in imajo skupno stranišče na vsaki dve bivalni enoti. Boljša stanovanja so dvo- do štirisobna, ki že imajo lastno stranišče, nimajo pa še kopalnice. Ta stanovanja se nahajajo v vilah z razkošneje obdelanimi fasadami, saj gre za stanovanja srednjega meščanskega sloja, ki želi vsaj na zunaj prikazati svojo veljavo in okus v tedaj modnem secesijskem slogu. Stanovanja višjega meščanskega razreda so trisobna, s straniščem in kopalnico, posebej pa je predviden tudi prostor za služkinjo. V vsakem nadstropju vile je po eno stanovanje, ki ima vhod s stopniščnega podesta.

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1 Maribor and the Seccession

THE ARCHITECT FRITZ FRIEDRIGER AND MARIBOR 

Arhitekt Fritz Friedriger Architect Fritz Friedriger


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Vila Transilvanija (Mladinska 45) - vilo je leta 1910 zgradil Fritz Friedriger zase in za svojo družino; vila predstavlja eno njegovih najpomembnejših stvaritev The Transilvania Villa (Mladinska 45) – this Vila was built in the year 1910 by Fritz Friedriger for his family; the Vila represents one of his most important creations


1 Maribor in secesija

ARHITEKT FRITZ FRIEDRIGER IN MARIBOR 

1 Maribor and the Seccession

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THE ARCHITECT FRITZ FRIEDRIGER AND MARIBOR 

Zgoraj: Hiša Aškerčeva 3 (hiša Schwab), nastala je med letoma 1898 in 1899 Spodaj: Vila Mladinska 34 (vila Walaster), zgrajena je bila med leti 1901 in 1907

Above: The Schwab House (Aškerčeva Street 3), built between 1898 and 1899 Below: The Walaster Villa (Mladinska Street 34), built between 1901 and 1907


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Hiša Ulica heroja Staneta 18 (Gruberjeva hiša), zgrajena je bila med leti 1898 in 1899, stoji na vogalu Ulice heroja Staneta in Aškerčeve ulice

The Gruber’s House (on the Heroja Staneta 18 Street), built between 1898 and 1899, stands at the corner of Heroja Staneta Street and Aškerčeva Street

Nasprotna stran: Vila Mladinska 33 (vila Zergollen), zgrajena leta 1896

Facing page: The Zergollen Villa on Mladinska Street 33, built in 1896


1 Maribor in secesija

ARHITEKT FRITZ FRIEDRIGER IN MARIBOR 

1 Maribor and the Seccession

THE ARCHITECT FRITZ FRIEDRIGER AND MARIBOR 

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Hiša Partizanska 77 (hiša Havliček), nastala je med letoma 1895 in 1896, stoji na vogalu Partizanske ceste in Tomšičeve ulice

The Havliček House on Partizanska Street 77, built between 1895 and 1896; the house stands at the corner of the Partizanska and Tomšičeva Street


1 Maribor in secesija

1 Maribor and the Seccession

Vile se na zunaj ne razlikujejo od stavb srednjega meščanskega sloja, so pa večinoma nastale kasneje, ko si je Friedriger že ustvaril ime ter si pridobil bogatejše naročnike. 13

He designed both private and public facilities. In Maribor, he constructed over seventy buildings, the majority of which are apartment houses, either one- or two-family homes (the latter were available for rent). In terms of the quality of living in individual residential units, apartment houses can be divided into different categories. Less expensive ones were small, one- or two-room apartments with a separate kitchen and a toilet shared by two residential units. More expensive apartments had between two and four rooms with their own toilet but no bathroom. These apartments could be found in villas with richly decorated façades, since the middle bourgeois wanted to demonstrate, at least on the outside, its status and the tastes of the fashionable Vienna Secession. Higher-class apartments had three rooms with a toilet and bathroom and a separate room for the maid. Each floor had one apartment that could be entered from the stair landing.

ARHITEKT FRITZ FRIEDRIGER IN MARIBOR 

Friedriger je ustvarjal predvsem za naročnike iz srednjega meščanskega sloja, pa tudi za bogatejše naročnike, kot je bila baronica Emma Mixich Rast. V zgodnjem mariborskem obdobju med letoma 1894 in 1900 je ustvarjal v historičnem slogu pod vplivom dunajske šole in profesorja Hansna, nato je na prehodu v novo stoletje (1900–1910) v svoje projekte uvedel prvine dunajsko vplivane secesije. 14 V Mariboru je živel do leta 1920, ko se je zaradi nesoglasij z mestno upravo preselil v Gradec, kjer je umrl leta 1922.

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THE ARCHITECT FRITZ FRIEDRIGER AND MARIBOR 

13. Gradbena dejavnost Fritza Friedrigerja in Maksa Czeikeja v Mariboru; Martina Perše, Anja Premk, Natalija Zanoški; ZUZ – XLIX – 2013. Construction activity of Fritz Friedriger and Max Czeike in Maribor; Martina Perše, Anja Premk, Natalija Zanoški; Zuz - XLIX - 2013.

14. Ibid. Ibid.


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The external appearance of villas did not differ from middle bourgeois housing; however, they were built later, when Friedriger had already made a name for himself and took on wealthier clients.13 Friedriger designed housing for both middle-class and wealthier clients, such as Baroness Emma Mixich Rast. In his early period, between 1894 in 1900, he designed buildings in the historical style influenced by the Vienna Academy and Professor Hansen. At the turn of the century (1900–1910), his works were influenced by elements of the Vienna Secession.14 In 1920, Friedriger left Maribor and moved to Graz due to disagreements with the municipal authorities. He died in 1922 in Graz.


1 Maribor in secesija

ARHITEKT FRITZ FRIEDRIGER IN MARIBOR 

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1 Maribor and the Seccession

THE ARCHITECT FRITZ FRIEDRIGER AND MARIBOR 

Nasprotna stran: Vila Kajuhova 12, nastala je med leti 1902 in 1907, stoji na vogalu Kamniške in Kajuhove ulice Facing page: The Villa on Kajuhova Street 12, built between 1902 and 1907, stands at the corner of Kamniška and Kajuhova Street

Fritz Friedriger je bil eden izmed najpomembnejših arhitektov, ki so v Mariboru delovali konec 19. in v začetku 20. stoletja – čas njegovega delovanja sovpada tudi z najbogatejšim gradbenim obdobjem Maribora. Skupaj z arhitektom Maxom Czeikejem je bistveno zaznamoval urbanistično in arhitekturno podobo Maribora vse do začetka II. svetovne vojne. Fritz Friedriger ni bil samo arhitekt, stavbenik in graditelj, v Mariboru se je ukvarjal tudi z urbanizmom in celostno podobo mesta (bil je vodja odbora za regulacijo in stavbni red ter mestni svetnik). Kot dopisni član Centralne komisije na Dunaju pa si je prizadeval tudi za ohranitev mariborske stavbne dediščine.

Fritz Friedriger was one of the most important architects working in Maribor in the late 19th and early 20th century – this period coincides with Maribor’s richest construction era. Fritz Friedriger and Max Czeike had a strong impact on Maribor’s cityscape up until the outbreak of World War II. Fritz Friedriger was not only an architect, construction engineer and builder. In Maribor, he was also engaged in town planning as chair of the construction regulations board and city councillor. As a correspondent for the Central Committee in Vienna, he contributed to the preservation of Maribor’s architectural heritage.


ZGODOVINA BARONIČINE HIŠE HISTORY OF THE BARONESS’ HOUSE


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BARONIČINA HIŠA V KONTEKSTU ČASA

THE BARONESS’ HOUSE IN THE CONTEXT OF ITS TIME

Obdobje je v industrijsko in družbeno živahnem času zaznamovala tudi izjemna arhitektura. Manifestacija aktivnega delovanja arhitekta Fritza Friedrigerja je zaznamovala ustroj mesta s pomembnimi stavbami, ki niso uvajale zgolj živahne umetnosti dunajske secesije, ampak so nedvomno postavile nova merila sektorskega urbanističnega načrtovanja, prepoznavnega arhitekturnega stila prebujajoče se moderne ter nove standarde bivanjskih slogov. Nova merila so nedvomno pomenila odmik od takrat uveljavljenega sloga klasične umetnosti. Nagla gospodarska rast in druga industrijska revolucija sta prebudili liberalna stališča akademikov in umetnikov. Ta so danes veliko bolj prepoznavna po gibanjih in organizacijah kot po posameznih mojstrih in jih slogovno poimenujemo v Franciji kot art nouveau in v Nemčiji kot Jugendstil. Gre torej za dva ločena pojma, čeprav se je v Sloveniji in Avstriji za oba uveljavilo poimenovanje secesija.

This industrially and socially vibrant period is also characterized by exceptional architecture. The manifestation of the work of Fritz Friedriger influenced the cityscape with important buildings, which not only introduced the vivid art of Vienna Secession but also new criteria for town planning, the identifiable architectural style of awakening modernism and new residential standards. These new criteria represented a departure from classical styles. Rapid economic growth and the Second Industrial Revolution promoted liberal views of academics and artists, which are nowadays known due to movements and organisations rather than individuals – in France and Germany, this style or art is known as Art Nouveau or Jugendstil, respectively. Although these are two separate terms, they are commonly referred to as Secession both in Slovenia and Austria. Secession represents a turning point in the art of aesthetics. At the turn of the 20th century, people began changing their


2 Zgodovina Baroničine hiše

2 History of the Baroness’ House

Secesija je prelomno obdobje umetnosti estetike. V prehodu iz 19. v 20. stoletje so ljudje z liberalizacijo in državno institucionalizacijo začeli spreminjati podobo sveta, tako so se aktivno povezovale politične, znanstvene, umetniške in gospodarske elite. 15

world view through the liberalisation and national institutional frameworks in a manner that facilitated the active cooperation of political, intellectual, cultural and economic elites.15

BARONIČINA HIŠA V KONTEKSTU ČASA 

Secesija – pod vplivom Dunaja in Gradca – se je v Mariboru pojavljala predvsem v prvem desetletju 20. stoletja, večinoma v prepletu s historičnimi slogi. Secesijski slog v Mariboru ni dosegel večje priljubljenosti, saj so bili v tem času med meščanstvom – ki je bilo prej tradicionalno kot napredno usmerjeno – bolj priljubljeni historični slogi. Baroničina hiša spada med najlepše in najčistejše ohranjene secesijske stavbe v Mariboru. Izredno ambiciozno zasnovana arhitektura z bogato členitvijo obvladuje širši prostor. Zaradi svojih kvalitet sodi med najpomembnejše stavbe tega časa v Mariboru.

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THE BARONESS’ HOUSE IN THE CONTEXT OF ITS TIME 

Secession – under the influence of Vienna and Graz – was first introduced in Maribor in the first decade of the 20th century and was intertwined with historical styles. Secession did not gain considerable popularity in Maribor since the bourgeois, rather traditionally oriented, preferred historical styles. The Baroness’ House belongs to one of the most beautiful and best preserved Secession buildings in Maribor. This extremely ambitious piece of architecture, with its rich segmentation, dominates the broader environment. Due to its qualities, the Baroness’ House is considered one of Maribor’s most important buildings of the era.

15. Traum und Wirklichkeit Wien 1870–1930 – Österreichs ästhetische kultur 1870–1914 Carl E. Schorske. Dream and Reality, 1870 to 1930 Vienna - Austria's Cultural Aesthetics 18701914 Carl E. Schorske.


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STAVBNA ZGODOVINA BARONIČINE HIŠE

CONSTRUCTION HISTORY

Pregled arhivske dokumentacije hiše je ponudil zanimivo odkritje, saj je iz arhivskih načrtov razvidno, da je Fritz Friedriger za baronico Emmo Mixich Rast v letu 1902 prvotno načrtoval mnogo bolj monumentalno in reprezentančno hišo. Hišo naj bi glede na načrte členil poudarjen vogalni del z velikim polkrožno zaključenim oknom in bogato okrašenim balkonom. Vogal je bil zaključen s strešnim čelom, nad katerim je bila čebulasta lanternasta streha. Fasadi sta bili členjeni tudi s pomolom in manjšimi strešnimi čeli, monumentalnost hiše so poudarjala tudi velika okna z okenskimi obrobami v reprezentančnem nadstropju – t.i. piano nobile.

Archival records of the building reveal that Fritz Friedriger initially designed a more monumental and prestigious house for Baroness Emma Mixich Rast in 1902. The house was supposed to have an emphasized quoin with a large semicircular window and a richly decorated balcony. The quoin would close with a gable and onion dome. The façades were supposed to be segmented by a bay and smaller gables, and the monumentality of the house was supposed to be emphasized by large windows with frames on the noble floor – the so-called piano nobile.

Še istega leta je arhitekt Fritz Friedriger iz neznanih razlogov za baronico izdelal popolnoma spremenjen načrt za hišo – na osnovi teh novih načrtov je bila hiša tudi zgrajena. Iz načrtov je razvidno, da bi morala biti zahodna fasada ob Prežihovi ulici okrašena s čelom, nad celotnim strešnim vencem pa bi moral

In the same year, Fritz Friedriger designed an entirely different plan for unknown reasons – the house was built in accordance with this new plan. According to this plan, the western façade along Prezihov Street should also have been decorated with a gable, and an ornamental frieze was supposed to be capped by the mouldings of the cornice. However, these elements were never built. In other details, the execution went according to plan.


2 Zgodovina Baroničine hiše S TAV B N A Z G O D O V I N A BARONIČINE HIŠE 

45

2 History of the Baroness’ House CONSTRUCTION HISTORY 

Prvotni nerealizirani načrti hiše iz leta 1902 Unrealized original schemes from 1902


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Napis na arhivskem načrtu iz leta 1902 iz katerega je razvidno, da je bila hiša načrtovana za baronico Emmo Mixich Rast

Nasprotna stran in naslednje strani: Arhivska načrta hiše iz leta 1902 - fasadi ob Smetanovi in Prežihovi ulici

The inscription on the archival plan from 1902 which shows, that the house was designed for the Baroness Emma Mixich Rast

Facing page and following pages: house archive plans from 1902 – the facade on the Smetanova and Prežihova Street


2 Zgodovina Baroničine hiše S TAV B N A Z G O D O V I N A BARONIČINE HIŠE 

2 History of the Baroness’ House CONSTRUCTION HISTORY 

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2 Zgodovina Baroničine hiše S TAV B N A Z G O D O V I N A BARONIČINE HIŠE 

2 History of the Baroness’ House CONSTRUCTION HISTORY 

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Nasprotna stran: Arhivski načrt tloris pritličja hiše iz leta 1902 Facing page: The archive map – the plan view of the house’s ground floor from 1902

biti ornamentalni friz, ki pa nista bila izvedena – v drugih podrobnostih pa je izvedba objekta zvesto sledila načrtom. V tlorisu ima hiša obliko črke L. Na uličnih straneh jo pokriva opečna streha, na dvoriščni strani pa ravna pločevinasta streha. Hiša ima prisekan vogal, ki je poudarjen s segmentnim strešnim čelom z veliko polkrožno luneto, ki ga v temenu zaključuje ženska glava. Obe fasadi imata vhod s portalom z lesenimi dvokrilnimi vratnicami. Na Smetanovi ulici je uvozni portal, na Prežihovi ulici pa vhodni portal. Fasade členijo okna različnih velikosti. Na zahodni fasadi ob Prežihovi ulici je nad portalom konzolni balkon s prevotljeno ornamentirano ograjo. Celotno oblikovanje fasad je secesijsko, prav tako secesijsko so oblikovani tudi posamezni detajli. Na fasadi najdemo več vrst secesijske ornamentike – geometrično, rastlinsko in figuralno ornamentiko (ženski obrazi). Značilno secesijski so tudi pasovi iz rumene keramike in okrogle keramične ploščice

The floor plan is L shaped. At the side looking out on the street, the house is covered with a tiled roof, whereas the part with a garden view is covered with a flat tin roof. The house has a truncated corner emphasized by a segmental gable with a large semi-circular lunette decorated with a female head. Both façades have a portal with wooden two-wing doors. The portal, allowing vehicles to enter the courtyard, is located on Smetanova Street, whereas the pedestrian portal is located on Prežihov Street. Façades are segmented by windows of different sizes. On the western façade along Prežihov Street, a balcony with an ornamented railing supported by console brackets was constructed above the portal. Façades, as well as individual details, are designed in the Secession style. Different Secession ornaments drawn from geometrical shapes and patterns, plants and figures (female faces) embellish the façade. A combination of plaster and belts of yellow tiles on the façade and round tiles above the windows are also typical


2 Zgodovina Baroničine hiše S TAV B N A Z G O D O V I N A BARONIČINE HIŠE 

2 History of the Baroness’ House CONSTRUCTION HISTORY 

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Prerez hiĹĄe - naÄ?rt iz leta 1902 z detajloma ograje in notranjih vrat A cross sectional view of the house - plan from 1902, with the detailed staircase fence and interior doors


2 Zgodovina Baroničine hiše

2 History of the Baroness’ House

nad okni. Princip okraševanja fasad temelji na zaporedju ali seštevanju ornamentov. Ženske figuralne maske dajejo fasadi glavni dekorativni pečat – arhitekt jih je uporabil kot zaključke pilastrov, konzol pod napuščem in kot okras nad luneto. Bogato okrašene so tudi okenske obrobe, portalni okvirji in balkon – z geometrično in rastlinsko ornamentiko.

of the Secession style. The embellishing principle of façades is based on the sequence and addition of ornaments. Female figural masks give the façade its main decorative note. The architect used them as decoration for the pilaster capitals, the corbels under the eaves and as a “keystone” above the lunette. Window frames, portal frames and the balcony are also richly decorated – both with geometric and floral ornaments.

S TAV B N A Z G O D O V I N A BARONIČINE HIŠE 

Dvoriščni fasadi sta zasnovani in členjeni utilitarno, brez vsakršne dodatne secesijske dekoracije. Vhod v notranjščino stavbe vodi skozi ulična portala v obe veži. Nadstropja med seboj povezuje stopnišče s stopnicami iz štokanega betona, podesti med stopnišči so tlakovani s terazzom. Stopnišče dopolnjuje domiselno oblikovana kovana ograja s secesijskimi motivi. V vsakem nadstropju prostore med seboj povezuje hodnik, tlakovan s terazzom. V posamezne prostore vodijo secesijske vratnice, ki jih poudarja geometrični vzorec kroga in kvadrata.

CONSTRUCTION HISTORY 

Both courtyard façades are designed and segmented in a utilitarian manner without any Secession ornamentation. The entrance leads through the street portals into both vestibules. The floors are connected with hammered concrete stairs. The staircase landings are tiled with terrazzo. The inventively designed stair railing is embellished with Secession motives. On each floor, the rooms are connected with a terrazzo tiled hallway. The Large Secession door wings emphasized by geometric shapes (circles and squares) lead to individual rooms.

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PRENOVA RECONSTRUCTION


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KONSERVATORSKI IN ARHITEKTURNI IZZIVI PRI PRENOVI

CONSERVATION AND ARCHITECTURAL CHALLENGES

Umetnost je v vsakem od svojih jezikov ne le sredstvo izražanja kulturnih manifestacij, ampak tudi globoko oprijemljiv strukturni medij čustev, misli in oblik, ki se brezčasno odražajo.

Each branch of art not only serves as a means of expressing cultural manifestations but also as a tangible structural medium of timeless emotions, thoughts and shapes.

Na ta način beremo arhitekturo Baroničine hiše, ki v svojih elementarnih stavbnih gradnikih skriva pozabljen in zastrt čut lepega. Ti gradniki vsak zase skrivajo svoj slogovni, estetski in tehnološki manifest. To so vrata, to je stopnišče, okno, balkon, tlak ali fasada. Z obnovo Baroničine hiše je sleherni od elementarnih gradnikov deležen slogovne reinterpretacije, ki zapolnjuje vrzel med historičnim in sodobnim. Prenova sledi osnovnemu principu ohranitve prvobitnih materialov v obliki, barvi in teksturi. Stavba tako absorbira svoje elementarne materiale, kot so kamen, les, opeka, beton in steklo; prav tako jih implementira v detajlih priprave, vgradnje in obdelave. Princip rekonstrukcije je slogovno poenotenje vseh stavbnih sestavin, ki služijo novemu

The architecture of the Baroness’ House, which hides a forgotten and dappled sense of beauty, must be read in such a manner. Each element – be it the doors, staircase, windows, balcony, cobbles or façades – hides its own stylistic, aesthetic and technological manifest. During the reconstruction, each element was subjected to a stylistic reinterpretation filling the gap between the historical and the modern. The reconstruction followed the principle of preserving original material as well as its form, colour and texture. The building thus absorbs its elementary material, such as stone, wood, brick, concrete and glass. The main reconstruction principle is the stylistic harmonisation of all elements serving the new programme, the subjection of shapes and structures to new functional


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programu, podreditev oblik in struktur novih funkcionalnih elementov, kot so dvigalo, notranje zasteklitve, dvoriščne komunikacije in vrt ter slogovna izčiščenost, ki obljublja brezčasnost.

elements, such as the elevator, interior glazing, courtyard communication and garden, as well as the stylistic refinement promising timelessness.

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Brezčasnost je občutek, stanje duha, ki ga arhitektura injicira v človekovo podzavest ter odstira njegov elementarni čut po lepem. Baroničina hiša z južno fasado neposredno daje oporo sodobni zgradbi G2, Fakulteti za elektrotehniko računalništvo in informatiko, zgrajeni leta 2004. Njuna spojitev s strani Prežihove ulice tvori zaključen ulični kare. Stavbi se spajata z globoko fasadno cezuro, ki jo stavba G2 mehča z »oblazinjeno« fasado. Z obnovo Baroničine hiše se bosta stavbi tudi programsko in funkcionalno povezali. Njun komunikacijski spoj je ključna naloga nove arhitekturne rešitve. Sodobno načrtovan poseg v dvoriščni prostor s podesti, balkoni in terasami

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Timelessness is a feeling, a mindset injected by architecture into our subconsciousness, thus unveiling its elementary sense of beauty. The Baroness’ House, with its southern façade, provides direct support for the G2 building of the Faculty of Electrical Engineering and Computer Science built in 2004. Their fusion at Prežihov Street creates a closed street district. The buildings are joined by a deep façade caesura “softened” by the “padded” façade of the G2 building. Both buildings will be connected, both in terms of programme and function. Their communication joint is the key task of the new architectural solution. A cleverly designed courtyard with landings, balconies and terraces connects the basement level, ground floor and first floor. The entire basement

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nivojsko povezujejo etaže kleti, pritličja in prvega nadstropja. Celotna kletna etaža nekdanjih drvarnic se z obnovo poglobi ter nivojsko razširi na dvorišče, s čimer se dovede naravna svetloba v kletne prostore. Nad poglobljenim dvoriščem se tvori osem metrov visok prostor atrija pod stekleno streho. Skozi zastekljen atrij je speljan mostovž, ki povezuje pritličje Baroničine hiše in nove zgradbe G2. Oporni zid poglobljenega dvorišča je vertikalni vrt intenzivne zasaditve. Pokončni vrt nadomešča izgubljeni vrt z dvoriščem. V spreminjajočem se naklonu vnaša prostoru specifično dinamiko in estetski pridih nekdanjega vrtnega dvorišča. Sedanja stavba Baroničine hiše je z novo funkcionalno in programsko vsebino precizno in skrbno reprezentiran tloris meščanske hiše z velikimi medsebojno povezanimi sobanami ter predprostori, ki mejijo na skupni hodnik na dvoriščni strani. V tlaku je s strukturo in barvo novega kamnito betonskega terazza

level has been deepened and extended in order to incorporate the courtyard, which means that natural light can illuminate the basement level. An eightmeter high atrium covered with a glass roof will extend above the deepened courtyard. A gallery passing though the atrium will connect the ground floors of both buildings (Baroness’ House and G2 building). A vertical garden with intense gardening represents the retaining wall of the deepened courtyard. By means of a varying gradient, it introduces specific dynamics and a hint of the aesthetics of the former courtyard garden. The reconstructed Baroness’ House precisely replicates the floor plan of the former bourgeois building with large adjoining rooms and anterooms bordering a shared hallway on the courtyard side. The structure and colour of the new stone-concrete terrazzo replicates the distribution of the former walls and dividing lines between the private and shared parts of the house. Interior doors


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prezentirana razmejitev nekdanjih sten ter ločnice med zasebnim in skupnim delom hiše. Notranja vrata in okna so z slogovno prepoznavnimi oblikami in okovjem deloma restavrirana. V območju nekdanjega jaška je umeščeno dvigalo s transparentnim jaškom, ki dovaja naravno svetlobo iz mansardne avle. V mansardnem delu stavbe se nad centralnim delom hodnika in avle polna streha nadomesti s stekleno, ki prek sekundarnega stropa osvetljuje notranji del stavbe. Motiv svetlobnega stropa je reinterpretacija avle v stavbi Postsparkasse arhitekta Otta Wagnerja iz leta 1904 na Dunaju. Elementi razsvetljave so oblikovno geometrijska telesa, ki so čustveno obarvan spomin na prvi modernizem in začetke industrijskega oblikovanja Josefa Hoffmana v letih od 1900 do 1910.

and windows with stylistically identifiable shapes and frames have been partially restored. The elevator is located in the area of the former shaft. The transparent shaft of the elevator supplies natural light from the attic lobby. In the attic area, the covered roof above the central part of the hallway and lobby has been replaced with a glass roof illuminating the interior via a secondary ceiling. The motif of the transparent ceiling is a reinterpretation of the lobby of Otto Wagner’s Austrian Postal Savings Bank constructed in 1904 in Vienna. Lighting elements are geometrically shaped and constitute an emotional memory of early modernism and the beginnings of industrial design by Josef Hoffmann in the period from 1900 to 1910.

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PRED PRENOVO

PRIOR TO THE RECONSTRUCTION

Baroničina hiša je z Odlokom o razglasitvi kulturnih in zgodovinskih spomenikov na območju občine Maribor (MUV, št. 5/1992) razglašena kot umetnostni in arhitekturni spomenik.

Via a Decree on Cultural and Historic Monuments in the Municipality of Maribor (MUV, No. 5/1992), the Baroness’ House was declared an important artistic and architectural monument.

Vpisana je tudi v Register kulturne dediščine Slovenije in ima evidenčno številko dediščine (EŠD) 6174.

It is entered in the Register of Slovene Cultural Heritage under the number 6174.

Hiša je propadala vse od 70-tih let prejšnjega stoletja, kar je razvidno tudi iz arhivskih fotografij. Zaradi nevzdrževanja so propadali omet, ornamentalno okrasje in stavbno pohištvo. Stanovalci hiše so tudi samovoljno posegali v objekt z neustreznimi posegi, saj so na ulični fasadi zamenjali skoraj vsa prvotna okna, nekatere okenske odprtine so spremenili v vratne in obratno. Neustrezni posegi so bili izvedeni tudi na dvoriščnih fasadah in v notranjščini spomenika.

The house has been deteriorating since the seventies, which is also evident from archival photographs. The plaster gradually came off, and the ornaments and builders’ carpentry and joinery deteriorated due to a lack of maintenance. The residents made arbitrary and unsuitable alterations – almost all original windows on the front façade were replaced, and some of the openings that were intended for windows were transformed and equipped with doors or vice versa. Inadequate alterations to garden façades and the interior were also carried out.


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Baroničina hiša pred prenovo The Baroness‘ House before the renovation


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Podoba hiše med leti 1966 in 1989 The image of the house between 1966 and 1989


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Stanje fasad in ornamentike pred obnovo ... Condition of the facades and the ornamentation before the renovation ...


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16. Jelka Pirkovič, Mihelič Breda: Secesijska arhitektura v Sloveniji, Ljubljana 1997, str. 115. Jelka Pirkovič, Breda Mihelič: Vienna Secession Architecture in Slovenia, Ljubljana 1997, p. 115

Stanje Baroničine hiše pred prenovo je nazorno opisano v knjigi Secesijska arhitektura v Sloveniji: »Zdi se, da le še štukirano okrasje in keramične obloge stavbo držijo skupaj in preprečujejo, da bi se zrušila.« 16 Konservatorski pristop pri obnovi spomenika je izhajal iz celovite in poglobljene preučitve njegovega zgodovinskega pomena, vloge v prostoru ter historičnih oblik, materialov in konstrukcij. Na podlagi teh analiz so se opredelili spomeniško najpomembnejši deli, kot tudi tisti, kjer je možen sodobnejši pristop pri obnovi. Osnovni cilj prenove je bila ohranitev hiše in vzpostavitev primarne vizualne in materialne pojavnosti spomenika – celote in kvalitetnih detajlov njegove zunanjščine in notranjščine. Eden izmed pomembnejših ciljev je bila tudi prilagoditev objekta današnjemu času in standardom ter njegovi novi javni namembnosti – za

The condition of the Baroness’ House prior to the reconstruction is thoroughly described in the book entitled “Vienna Secession Architecture in Slovenia”: “It seems that only the stucco decoration and the tiles are holding the building together”.16 The adopted conservation approach was based on a comprehensive, indepth analysis of the building’s historic significance, its role in the environment and historical shapes, materials and construction. Based on these analyses, the architects identified both elements that were to be preserved and parts of the building requiring a more modern touch. The main goal of the reconstruction was to preserve the building and establish the monument’s primary visual and material manifestation – both partially (elements of the exterior and interior) and in its entirety. One of the most important goals was also to modernise the building in


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raziskovalne in študijske dejavnosti Fakultete za elektrotehniko, računalništvo in informatiko.

accordance with current standards and its new purpose: the facilitation of scientific research and educational activities of the Faculty of Electrical Engineering and Computer Science.

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V postopku izdelave projektne dokumentacije, ki jo je izdelal arhitekt David Mišič iz arhitekturnega biroja Styria arhitektura d.o.o., so potekala usklajevanja, ki so poskušala združiti zahteve spomeniškovarstvene stroke in vizije arhitekta ter zahteve, povezane z novo namembnostjo spomenika, ki je iz sodobnega varstvenega vidika za spomenik nedvomno bolj primerna.

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The documentation was prepared by the architect David Misic of the architectural firm Styria arhitektura d.o.o. The University had to harmonise the requirements of heritage preservation professionals, the visions of the architect and requirements related to the new intended purpose, which is – from a conservation point of view – undoubtedly more appropriate for a historic monument such as the Baroness’ House.

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Nasprotna stran: Kletni prostori so bili pred posegom sanacije v stanju kritične stopnje karbonizacije, zidovi v presežnih mejah vsebnosti vlage, bioloških primesi in soli. (Raziskava gradbene fizike: Ivan Klanečka dipl.ing. gr., julij 2007) Facing page: Before the renovation there was a critical level of carbonization in the basement walls as well as exceeded limits of moisture, biological contaminants and salt. (Study of building physics: Ivan Klanečka, Dipl. Ing. constr., July 2007)

MED PRENOVO

DURING THE RECONSTRUCTION

Med prenovo je bilo leseno ostrešje zamenjano z jekleno konstrukcijo, odstranjen je bil omet na fasadah, zamenjano je bilo vse fasadno stavbno pohištvo. V notranjščini so bile vse dotrajane stropne konstrukcije zamenjane z armiranobetonskimi, izvedel se je spuščen strop, odstranjene so bile nekatere predelne stene v notranjščini.

The wooden roofing has been replaced by a steel construction, the plastering on all façades has been removed, and builders’ carpentry and joinery replaced. In the interior, all deteriorated ceiling parts have been replaced with from the help of reinforced concrete. In addition, the ceiling has been lowered, and some of the partitions have been removed.

Prav tako so se v objekt umeščali novi elementi, potrebni za novo namembnost – predvsem stekleni atrij z mostovžem na prostoru dvorišča. Umestitev atrija je bila potrebna za zagotovitev dodatnih prostorov in komunikacije med Baroničino hišo in sosednjim objektom G2. Novi element je v proporcih podrejen spomeniku, skozi njegovo stekleno strukturo prosevajo fasade. Prostor nekdanjega zelenega dvorišča je arhitekt inovativno ohranil kot motiv zvrnjenega dvorišča

New elements required for the new intended purpose have been added, especially the glass atrium with the gallery in the courtyard area. The construction of the atrium was required in order to ensure additional space and communication between the Baroness’ House and the neighbouring G2 building. The proportions of this new element are in accordance with the entire appearance of the monument, and the façades are visible through its glass structure. The former courtyard garden


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Obnova fasadne ornamentike The renovation of the facade’s ornaments


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z zazelenjeno steno, ki na moderen način z zasaditvijo implementira secesijske elemente v objekt.

has been preserved by the architect in a highly innovative manner – as a vertical element with a green wall integrating Secession elements in a modern way.

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Kljub vsemu navedenemu pa je obnova ohranila vse pomembne elemente spomenika in nekatere ponovno poudarila – na podlagi sondažnih raziskav fasad in stavbnega pohištva so se določili primarni barvni toni fasad, restavratorsko je bila obnovljena vsa fasadna profilacija in okrasje, izdelalo se je novo stavbno pohištvo na fasadah glede na prvotno stavbno pohištvo – razen portala na zahodni ulični fasadi. Ponovno so se vzpostavile primarne okenske in vratne odprtine, na strehe se je namestila prvotna opečna in pločevinasta kritina. V notranjščini se je ohranil in obnovil obstoječi terazzo na hodnikih in na stopnišču, stopnice s stopniščno ograjo, ohranila in obnovila so se vsa notranja vrata, po vzoru obstoječih so bila izdelana nova.

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Despite these alterations, all important elements of the monument have been preserved and some of them even highlighted. Based on the initial research of the façade and builder’s carpentry and joinery, the primary shade of the façade was determined. The entire façade profile and ornamentation has been restored, and builder’s carpentry and joinery has been replicated – with the exception of the portal on the western façade. The original window and door openings have been restored, and the roof has been covered with tiles and tin. In the interior, the stairs, railing and the terrazzo tiled hallways and staircase have been restored. In addition, all interior doors have been preserved, restored or replicated.

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Baroničina hiša med prenovo Poglobitev kletne etaže in dvorišča pred umestitvijo atrija in mostovža Poglobitev kletne etaže Zamenjava stropnih konstrukcij in rušenje predelnih sten The Baroness´ House during the renovation Deepening of the basement and the courtyard before the installation of the atrium and the passage. Deepening of the basement floor Replacement of the decrepit roof constructions with reinforced concrete constructions


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Poseg poglobitve dvorišča in kletne etaže, zamenjava stropnih konstrukcij Nasprotna stran: Zamenjava lesene strešne konstrukcije z jekleno konstrukcijo Deepening of the yard and basement floor, replacement the ceiling structures Facing page: Replacing the wooden roof structure with a steel structure


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Skrbno premišljen poseg v stavbo je bila odstranitev in rušitev kletnih sten na dvorišču, pod katerimi so nameščeni vitki jekleni podporni stebri. Poglobitev zunanjega dvorišča na nivo kleti, skupaj z ohranitvijo fasadnih sten nad odstranjeno kletno steno, je zahtevala skrajno domiselno konstrukcijsko izvedbo začasnega podpiranja. The removal and demolishing of basement walls in the courtyard area, under which steel support columns were constructed, required careful planning. The deepening of the external courtyard to the basement level, together with the preservation of the facade walls above the removed basement wall, required an innovative construction mechanism providing temporary support.


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Bistvenega pomena pri gradbenih posegih rekonstrukcije je zagotavljanje potresne varnosti objekta. S tem ciljem smo namestili armiranobetonske plošče na nivoju etaž ter jih prek armaturnih sider povezali s fasadnimi in notranjimi nosilnimi zidovi. In order to ensure seismic safety, reinforced concrete slabs were laid at the floor level and connected with the facade and internal load-bearing walls via anchorages.


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Nasprotna stran: Baroničina hiša po obnovi Facing page: Baroness’ House after the renovation

PO PRENOVI

AFTER THE RECONSTRUCTION

Celovita prenova Baroničine hiše je bila z ustrezno načrtovanimi in izvedenimi posegi iz konservatorskega vidika zelo uspešna, saj se je povečala njena spomeniška pričevalnost – za uspešno prenovo pa je potrebno sodelovanje lastnika oz. uporabnika, arhitekta, izvajalca ter konservatorjev in restavratorjev zavoda.

From a conservation aspect, the reconstruction of the Baroness’ House can be considered a great success since its value as a monument increased substantially due to the carefully planned restoration work. The reconstruction required the close cooperation of the owner (user), the architect, contractor as well as conservation and restoration experts.

Investitor in uporabnik hiše sta se zavedala vrednosti in kvalitete hiše in tvorno spremljala napredek pri obnovi, predvsem pa obnova ne bi bila tako uspešna brez arhitekta Davida Mišiča, ki ima izjemno subtilen posluh za kulturno dediščino in široko znanje, ki daleč presega arhitekturne okvirje, ter zmožnost, da združi kreativno arhitekturno vizijo z zahtevami in načeli konservatorske stroke, da združi staro in novo v homogeno in harmonično celoto.

Both the investor and user of the house were aware of the building’s value and quality. They carefully monitored the progress during reconstruction, which would not have been such a success without the help of the architect David Misic. He has an extremely subtle and refined ear for cultural heritage, extensive knowledge beyond the framework of architecture and the ability to integrate his creative architectural vision with conservation requirements and principles and to combine the old and new into a homogenous and harmonic whole.


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Ta in naslednje strani: Detajli fasad in fasadne ornamentike po obnovi This and following pages: Details of the facades and the fasade ornamentation after the reconstruction


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Skozi zastekljen atrij je speljan mostovž, ki povezuje pritličje Baroničine hiše in nove zgradbe G2 A gallery passing through the atrium will connect the ground floors of the both buildings (Baroness’ House and G2 building)


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Oblikovanje notranjosti absorbira svoje elementarne materiale, kot so kamen, les, apneni omet in steklo; prav tako jih implementira v detajlih priprave, vgradnje in obdelave.

Nasprotna stran, levo zgoraj: Galerija povezuje objekt v pritličju in nadstropju ter omogoča prehod med objektom FERI in historično stavbo Baroničine hiše. Nasprotna stran, desno zgoraj: V tlaku je s strukturo in barvo novega kamnito betonskega terazza prezentirana razmejitev nekdanjih sten ter ločnice med zasebnim in skupnim delom hiše.

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Interior design followed the principle of preserving original material as well as its form, color and texture. The building thus absorbs its elementary material, such as stone, lime plaster, wood and glass.

Facing page, top left: The galleries connects the ground and first floor and creates a passage between the Faculty of Electrical Engineering and Computer Science and the historic building of the Baroness’ House.

Facing page, top right: The structure and colour of the new stone-concrete terrazzo replicates the distribution of the former walls and dividing lines between the private and shared parts of the house.


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Oblikovanje notranjosti raziskovalnih kabinetov FERI. Nasprotna stran zgoraj levo: Notranja vrata in okna so s slogovno prepoznavnimi oblikami in okovjem deloma restavrirana. Nasprotna stran spodaj levo: Elementi razsvetljave so oblikovno geometrijska telesa, ki so Ä?ustveno obarvan spomin na prvi modernizem in zaÄ?etke industrijskega oblikovanja Josefa Hoffmana v letih od 1900 do 1910. Nasprotna stran desno: V mansardnem delu stavbe se nad centralnim delom hodnika in avle polna streha nadomesti s stekleno, ki prek sekundarnega stropa osvetljuje notranji del stavbe.

Interior design of research offices at FERI. Facing page top left: Interior doors and windows with stylistically identifiable shapes and frames have been partially restored. Facing page bottom left: Lighting elements are geometrically shaped and constitute an emotional memory of early modernism and the beginnings of industrial design by Josef Hoffmann in the period from 1900 to 1910. Facing page right: The covered roof above the central part of the hallway and lobby in the attic area, has been replaced with a glass roof illuminating the interior via a secondary ceiling.


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GRADBENOKONSTRUKCIJSKI IZZIVI OBNOVE

CONSTRUCTION CHALLENGES

Zahteve po novi namembnosti in arhitekturni zasnovi objekta so stabilnost in nosilnost stavbe postavile pred izzive, ki upoštevajo ohranjanje osnovnih principov konstrukcijskih elementov in obstoječih delov stavbe. Bistvena je prav gotovo nova namembnost stavbe, s katero se je koristna obtežba povečala za 100 kg/m 2 njene dosedanje sposobnosti prenašanja obtežb. Z obnovo se Baroničina hiša preobraža iz stanovanjske hiše v javni objekt in s tem sočasno prevzema naloge ustrezne seizmične varnosti.

The building’s new intended purpose and architectural design were a considerable challenge in terms of stability and bearing capacity since the basic principles of construction elements and existing parts of the building had to be taken into account. Due to the new intended purpose, the load-bearing capacity increased by 100kg/m2. The Baroness’ House has also turned into a public building, which means that seismic safety must be ensured.

Pri načrtovanju in izvedbi se je bilo treba posebej osredotočiti na podjemanje temeljev, ki so bili zaradi poglobitve nivoja kleti narejeni do globine enega metra, na njihovo obliko pa je vplival izredno zahteven poseg iz notranjosti objekta. Temeljenje se je izvajalo v kampadah, posameznih odsekih dolžine enega metra. V predelu amfiteatrske predavalnice je bilo treba kampadno temeljenje izvajati še v pokončnih etapah, predvsem v

In terms of planning and implementation, special attention had to be devoted to the reinforcement of the foundations, which were laid one meter deep due to the deepening of the basement level. Their shape, which preserves the external structure of the part of the building looking out on to the street, was subject to an extremely complicated procedure conducted from the interior. Reinforcement was conducted in one-meter long segments. At the location of the lecture theatre, the foundations also had to be reinforced in vertical segments, especially in the


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predelu, kjer je bilo treba dodatno poglobiti klet do skoraj dveh metrov.

part where the basement level had to be deepened to almost two meters.

Skrbno premišljen poseg v stavbo je bila odstranitev in rušitev kletnih sten na dvorišču, pod katerimi so nameščeni vitki jekleni podporni stebri. Poglobitev zunanjega dvorišča na nivo kleti, skupaj z ohranitvijo fasadnih sten nad odstranjeno kletno steno, je zahtevala skrajno domiselno konstrukcijsko izvedbo začasnega podpiranja. Pred posegom v rušitev kletnih sten je bilo treba vnesti nosilce v obstoječ stenski profil na način, da so za čas faznosti izvedbe nosilcev obtežbo sten prevzemali jekleni podporniki. Ti so po betonaži nosilcev ostali v profilu stene, dokler ni beton dosegel zadostne trdnosti in prevzel potrebno nosilnost celotne statične obtežbe objekta. Precizno izvedeni statični posegi so omogočili povezati prostor med obstoječimi kletnimi prostori in razširjenim poglobljenim dvoriščem ter amfiteatrsko predavalnico z razstavnim prostorom.

The removal and demolishing of basement walls in the courtyard area, under which steel support columns were constructed, required careful planning. The deepening of the external courtyard to the basement level, together with the preservation of the façade walls above the removed basement wall, required an innovative construction mechanism providing temporary support. Before tearing the basement walls down, girders had to be incorporated into the existing wall profile. During this stage, the ballast had been supported by steel pillars, which remained in the wall after the girders were encased in concrete. They were removed when the concrete hardened and was able to support the static load of the building. By means of precisely implemented static interventions, the space between the basement and the expanded and deepened courtyard has been connected with the lecture theatre and exhibition premises.

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Novi konstrukcijski elementi so mostovži in terase nad podkletenim odprtim dvoriščem Baroničine hiše. Jeklena konstrukcija izvedenih arhitekturnih elementov vzpostavlja komunikacijo v obliki klančin, blagega stopnišča in teras v izredno ambiciozni, sodobni arhitekturi. Konstrukcija povezuje objekt v pritličju in nadstropju ter omogoča prehod med objektom FERI in historično stavbo Baroničine hiše. Kljub strogim merilom ohranjanja historične pričevalnosti stavbe smo z novo konstrukcijo ostrešja povsem nadomestili obstoječ konstrukcijski skelet, pri tem ohranili zunanjo podobo stavbe ter hkrati omogočili uporabnost prostorov v mansardi. Bistvenega pomena pri gradbenih posegih rekonstrukcije je zagotavljanje potresne varnosti objekta. S tem ciljem smo namestili armiranobetonske plošče na nivoju etaž ter jih prek armaturnih sider povezali s fasadnimi in notranjimi

Galleries and terraces above the open courtyard constitute new construction elements in the Baroness’ House. The steel construction of the implemented architectural elements facilitates communication in the form of ramps, a staircase with a gentle ascent and terraces in a highly ambitious, modern piece of architecture. The construction connects the ground and first floor and creates a passage between the Faculty of Electrical Engineering and Computer Science and the historic building of the Baroness’ House. Despite strict criteria for preserving the building’s historical value, the new roofing construction entirely replaced the existing construction framework, while preserving the external appearance and facilitating the use of attic rooms. Seismic safety is one of the most important aspects of reconstruction. In order to ensure seismic safety, reinforced concrete slabs were laid at


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Vizualizacija stavbe v prerezu različnih horizontalnih ravnin. Rendered section plan in various horizontal range

nosilnimi zidovi. Za še ugodnejšo odpornost na seizmični vpliv, pri katerem plošče delujejo kot toge diafragme, katerih lastnost je enakomerno prenašanje horizontalnih obtežb na vse zidove, smo izvedli obojestranski armirani torkret vseh nosilnih opečnih zidov ter s tem še povečali togost zidovja.

the floor level and connected with the façade and internal load-bearing walls via anchorages. In order to increase resistance to earthquakes, during which slabs serve as stiff diaphragms transmitting the horizontal load evenly onto all walls, both sides of loadbearing brick walls were reinforced with shotcrete, thus solidifying wall stiffness.


Nastopne površine iz ploščatega jekla. Kompozitni premaz JEKLO UPN300 ST02 STREHA - FOLCANA TITANZINK STREHA 1. Titazink d=0,6mm - folcana streha 2. Hidroizolacijski sloj - kot npr. Tyvek Metal 3. OSB 3 plošča 1,8cm 4. Zračni sloj - letve 3cm 5. Paropropustna folija 6. TI med konstrukcijo strehe s TI kot npr. URSA SF34 20 cm 7. OSB plošča 1,2 cm 8. Spuščeni strop - 2x GK plošča 15 mm Skupaj: 12,0 cm

JEKLO []100/100 JEKLO []100/100

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O-13 - replika okna iz masivnega lesa po načrtu pokrajinskega arhiva

TK 02 PARKET 1. Parket 2. Lepilo 3. Estrih 4. PE folija 5. Toplotna izolacija kot.npr Ursa TSP 6. Nova AB plošča na oboku 7. Tlačno trda kovinska podkonstrukcija 8. Dodatna GK spodnja plošča 9. kot npr. StoSilent A-Tec Panel 10. Povezava akustične plošče s sistemskim lepilom in sistemsko izravnalno maso 11. Zvočno prepusteb zaključni sloj kot npr. StoSilent Superfein

3,50 1,96

PODEST PRITLIČJA IN MOSTOVŽ (1)

2 cm 6 cm

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KD03

FZ 06 - FASADNA STENA PROTI ATRIJU S FASADNO OBLOGO 1. Končni sloj apnena paropropustna, biobarva 2. Mineralni, paropropustni omet na bazi apna 2 cm 3. Obstoječa opečna stena (očiščena s saniranimi fugami) 50 cm 4. IZRAVNAVA NA OČIŠČENO FASADNO STENO - Saniran fasadni omet mineralni, sanacijski, izsuševalni, paropropustni omet na apneni bazi zagotovitev certificirane sistemske rešitve kot naprimer BIOKLAN ZRMK 5. Lepilna malta za kameno volno 6. TI kot npr. Tervol FP-D - sidrana 15 cm 7. Sistav fasadnega sloja po sistemu: redek cementni obrizg pocinkana mrežica groba fasadna malta 2 cm 8. Zaključni fasadni omet - paropropusten - brva po vzorčenju Skupaj: 70 cm

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TK 02 PARKET 1. Parket 2,0 cm 2. Lepilo 3. Estrih 4. PE folija 5. Toplotna izolacija -steklena volna 6. Konstrukcija po projektu

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JEKLO UPN300 JEKLO []100/100

AB HORIZONTALNA VEZ O-08 - replika okna iz masivnega lesa po načrtu pokrajinskega arhiva

JEKLO UPN300

Nastopne površine iz ploščatega jekla. Kompozitni premaz

4 cm 20 cm 23 cm

KD04 2,5 cm

Skupaj:47,5 cm

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Stik s steno s senčno fugo, spodnja plošča z robnim zaščitni profilom sistem kot npr. Knauf D112-A4

KD02 [] 300/300

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SS 03 1. Ometna letev za zagotovitev ravnosti 2. kot npr. StoSilent Quarz 3. kot npr. Sto-Akustikputz Polnilo M 1 cm 4. kot npr. Sto-Akustikputz Polnilo M 1 cm 5. kot npr. Sto-Akustikputz Polnilo F 0,5 cm 6. Dekorativni sloj kot npr. StoSilent Fein

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AB nosilec 60/90 AB nosilec 60/60

KD02 [] 200/100 JEKLENI steber premer 20 cm

TK 06 BITUMENSKI TERAZZO 1. Bitumenski terazzo 2. Estrih 3. PE folija 4. Toplotna izolacija -XPS 5. Bitumenska hidroizolacija 6. Podložni beton 7. Utrjeno nasutje 8. Geotekstil 200 g/m2 Skupaj:

Jekleni steber fi200 polnjen z betonom

2,77 2,60

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3,0 cm 9,0 cm 8,0 cm 1,0 cm 10 cm

Dilatacijski profil, kot npr. Deflex 496/E

20 cm 48,0 cm

Jekleni steber fi200 polnjen z betonom TK 08 TLAKOVANO 1. Tonalit 3/8/8cm 2. Mikroarmiran cementni estrih / talno gretje 3. Toplotna izolacija kot npr. Ursa XPS N-III-L 4. Mineralna volna za večje obremenitve 5. Bitumenska hidroizolacija 6. Mikroarmiran cementni estrih 7. Utrjeno nasutje 8. Geotekstil 200 g/m2 Skupaj: 48,0 cm

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TK 01 PARKET 1. Parket 2 cm 2. Lepilo 3. Estrih 6 cm 4. PE folija 5. Toplotna izolacija kot.npr Ursa TSP 4 cm 6. Nova AB plošča na oboku 10 cm 7. PE folija 8. Nasutje glinopor povprečno 20 cm 9. Obstoječi opečni obok 10. Akustični omet kot. npr. sistem STO 3 cm Skupaj:~ 45,0 cm

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Nasprotna stran, zgoraj levo: Shema konstrukcije mostovža nad atrijem

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ST01 STREHA - OPEKA BOBROVEC Vključno z vgradnjo snegolovov skladno z navodili proizvajalca! 1. Strešna kritina bobrovec 2. Letve 4 cm 3. Kontra letve 4 cm 4. Paropropustna folija 5. TI med konstrukcijo strehe s TI kot npr. URSA SF34 20 cm 7. OSB plošča 1,2 cm 8. Letve z vstavljeno TI kamena volna v ploščah - inštalacijska ravnina 5 cm 15 mm 9. GKBI plošča Skupaj: 12,0 cm

AB HORIZONTALNA VEZ

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1. Parket 2. Lepilo 3. Estrih 4. PE folija 5. Toplotna izolacija -XPS

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Facing page, top left: Steel structure plan of the gallery above the atrium.

FZ 02 1. Končni sloj kitana in barvana površina 2. Ojačitveni armiran, betonski omet 5 cm 3. Obstoječa opečna stena 50 cm 4. Saniran fasadni ome 4 cm 5. Končni sloj fasadna barva

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Facing page, bottom left: Perspective of the loadbearing steel structure

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Prefabricirana preklada + obzidava špalete

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Odkapna pločevina Vertikalna obdelava špalet: vert. obzidava/zapolnitev z ometom priprava odprtine po obstoječih dimenzijah stik okna s špaleto zaključen s senčno fugo

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Talna rešetka konvektorja tip kot. npr.: Floor Grilles IMOS-PMA tpi 15-04. Dimenzije rešetke uskladiti s projektom strojnih inštalacij skladno z zahtevami konvektorja

ZUNANJI TLAK: -Štokan beton d=12cm -Bitumenska hidroizolacija -Podbeton 5cm -Komprimirano nasutje 30cm

+3,65 Nadstropje

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1. Parket 2. Lepilo 3. Estrih 4. PE folija 5. Toplotna izolacija -XPS

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Konvektor pomaknjen v okensko nišo prilagoditev obstoječam stanju na objektu

Talna rešetka konvektorja tip kot. npr.: Floor Grilles IMOS-PMA tpi 15-04. Dimenzije rešetke uskladiti s projektom strojnih inštalacij skladno z zahtevami konvektorja

Kletno okno: dimenzije oken prolagoditi dejanskim odprinam, skladno z načrtom fasade in konservatorskim načrtom

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-3,65 Klet

Perforirana pločevina mrežica

TK 06.1 BITUMENSKI TERAZZO 1. Bitumenski terazzo 3,0 cm 2. Estrih 9,0 cm 3. PE folija 5. Toplotna izolacija kot.npr Ursa TSP 4 cm 6. Nova AB plošča 20 cm 7. PE folija 8. Akustični omet kot. npr. sistem STO 3 cm Skupaj:~ 45,0 cm

Ometana špaleta pod naklonom

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Facing page, right: Vertical section of the east façade with new basement and the lightweight planar load-bearing structure of steel and glass yields in the atrium space.

Konvektor pomaknjen v okensko nišo prilagoditev obstoječam stanju na objektu

Det. ''A''

+3,65 Nadstropje

Nasprotna stran, desno: Vertikalni prerez vzhodne fasade v predelu novo podkletenega dela dvorišča ter transparentne konstrukcije jekla in stekla v prostoru atrija.

-3,65 Klet

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Obbetoniranje jaškov kletnih oken

Levo: Vertikalni prerez zahodne fasade v ravnini balkona. Sredina: Vertikalni prerez kletnega okna pod vhodnima stopnicama. Spodaj: Vertikalni prerez podokenskih konverterjev k dovodom prezračevanja v tleh. Left: Vertical section of west façade in the range of the balcony. Center: Vertical section through the basement window under the entrance stairs. Bottom: Vertical section through fan coil element with ventilating duct access in the floor construction.


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Zgoraj levo: Germizi Shpresim Top left: Germizi Shpresim


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Zgoraj levo: Damir Seljišta Spodaj levo: Samed Mihinbašić Spodaj: Afrim Januzaj

Top left: Damir Seljišta Bottom left: Samed Mihinbašić Bottom: Afrim Januzaj


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Levo: Kushtrim Shurdhaj Desno: Rexhep Shurdhaj Left: Kushtrim Shurdhaj Right: Rexhep Shurdhaj


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Zećir Melova


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Levo: Trivunović Slobodan Zgoraj desno: Ivanovski Marko Left: Trivunović Slobodan Top right: Ivanovski Marko


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BARONICA – NEOBIČAJNA HIŠA MED SIJAJEM PRETEKLOSTI IN IZZIVI PRIHODNOSTI

THE BARONESS – AN UNUSUAL HOUSE BETWEEN FORMER GLORY AND FUTURE CHALLENGES

Najbrž bo držalo, da tako kot ljudje tudi hiše pripovedujejo zgodbe. Morda samo drugače, v jeziku, ki ga zaznajo le nekateri, tisti, ki jim je dano, da le zaprejo oči in v poltemo priprtega stopi podoba izpred dobrega stoletja – s tedanjim bliščem in tedanjimi ljudmi. Kdo ve, kakšno pripoved nam bi zaupala hiša, ki je po svoji lastnici dobila ime Baronica? Najbrž bi se začela, ko se je na gradnji odmerjenem prostoru prvič pojavila dama z denarjem in idejo, nadaljevala takrat, ko si je hišo prvič predstavljal »arhitekt in stavbenik« Fritz Friedriger, ko so pripeljali dravsko kamenje za njene temelje ... Pripovedovala bi o mojstrih zidarjih, o trenutkih navdušenja, ko so v lepoto novega in precej razkošnega leta 1903 stopili lastniki – stanovalci. Morda bi pripovedovala o tistem letu, ko je bilo v Mariboru ustanovljeno Zgodovinsko društvo za Slovensko Štajersko, ki je mestu dalo knjižnico, muzej in arhiv? Gotovo ne bi pozabila povedati, da je narasla Drava tisto leto odnesla

It probably holds true that both people and buildings tell their own stories. However, buildings tell them in a slightly different way – in a language understood only by a few: those with the ability to close their eyes and see, in semi-darkness, images from past centuries – along with the former glory and people of the era. Who knows what stories this house, which acquired the name “Baroness” after its owner, could tell us? Probably, it would begin with the moment when a wealthy lady with a great idea first appeared on the site, and continue, when the architect and builder named Fritz Friedriger first saw the house and brought stones from the Drava River for its foundations … The house would tell us about the masons and the exciting moment when the new owners and residents first entered a truly magnificent building in 1903. It might also tell us about the year, in which the Historical Society for Slovene Styria was established and gave the city its first library, museum and municipal archive. It surely would not forget to tell us that, in


103 B aronica – neobičajna hiša med sijajem preteklosti in izzivi prihodnosti

T he B aroness – an unusual house between former glory and future challenges

Studenško brv, v Slovenj Gradcu pa je v hudem požaru zgorelo kar 77 hiš. Dodala bi, da je leta 1903 Janez Puh v Gradcu začel izdelovati motorna kolesa, da sta brata Wright prvič poletela z motornim letalom in da so Nobelovo nagrado za fiziko dobili Henri Becquerel ter Piere in Marie Curie … Pripovedovala bi o rojstvih in smrtih, o praznovanjih in stiskah, morda o zimi 1928/29, ko so tudi v Mariboru temperature padle na okoli minus 30 stopinj Celzija in se je bilo zelo težko ogreti, o treskih anglo-ameriških letalskih bomb, katerih posledice še po dobrih sedemdesetih letih zevajo s pročelij prenekatere mariborske hiše starejšega datuma. Zanesljivo bi pripovedovala o skoraj polstoletnem obdobju zapuščenosti in zanikrnosti, pa o tem, kako je na strehi zraslo čisto pravo majceno drevesce, in nato kako so nekega jutra – tako kot pred davnimi leti – spet prišli novi zidarski mojstri in se dela lotili povsem drugače kot nekoč …

the same year, the Drava River flooded the Bridge of Studenci and that 77 houses were destroyed in a devastating fire in Slovenj Gradec. As the story would unfold, we might also learn that, in 1903, Johann Puch’s company started producing motorcycles in the Styrian capital Graz, the Wright brothers made the first human flight, and Henri Becquerel Piere and Marie Curie were awarded the Nobel Prize in Physics … It would revolve around the births and deaths, celebrations and crises, maybe even around the winter of 1928/29, when temperatures in Maribor dropped to around -30˚C, or the sound of Anglo-American bombs, the traces of which are, after 70 years, still visible on the façades of some of Maribor’s older houses. The building would surely mention the nearly 50-year period of abandonment and neglect resulting in a small tree growing on its roof, and the morning when – just like many decades ago – builders appeared and began with the construction works; however, this time around in an entirely different manner …


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Tako kot se menjujejo ljudje, se spreminja tudi usoda hiše. Naenkrat ne bo več dom in pribežališče in ne bo več spremljala, kako se življenje slehernega v njej bivajočega nadobudneža spreminja iz pomladi v človeško jesen. Vse bo drugače, celo tako drugače, kot si ne arhitekt Fritz in ne baronica Emma nista niti v sanjah predstavljala. Hiša na stičišču dveh ulic je kmalu padla v oči snovalcem tehniškega okolja mariborske univerze. Ni skrivnost, da se je zgodaj vedelo, da bo nekoč del širšega stavbnega ogrodja, nejasen je bil samo pristop; nekaterim je bila blizu ideja, ki je zadevala samo prostor, ki ga zaseda, in bi najraje pripeljali delovne stroje ter v dobrem dnevu zravnali njeno podobo. Drugi so jo želeli vkomponirati v podobo doslej zgrajenega in pri tem se je tudi ustavilo. Nekega dne je kocka padla. Baronica gre v prenovo, in če ji je dana soseščina fakultete za elektrotehniko, računalništvo in informatiko, bo pač del

The destiny of houses changes, just like its residents. The Baroness’ House will no longer serve as a home or haven, witnessing the lives of its residents from cradle to grave. Everything will be different … more different than either the architect Fritz or Baroness Emma could ever have imagined in their wildest dreams. The house at the intersection caught the eye of the professors of technical sciences early on. It is no secret that it was decided a long time ago that the building should become a part of the university’s infrastructure. However, the approach was unclear. Some people flirted with the idea of utilizing the site only. They were eager to hire bulldozers and raze the building to the ground in the course of a day. Others wanted to give the building a new, fresh look, similar to its environment. One day, the die was cast. The University decided to renovate the building and make it a part of the Faculty of Electrical Engineering and Computer Science, which is located in its immediate vicinity.


10 5 B aronica – neobičajna hiša med sijajem preteklosti in izzivi prihodnosti

T he B aroness – an unusual house between former glory and future challenges

njene organske celote. Če smo povsem natančni in sledimo tistemu, kar je bilo prej, bo ona – sedaj poimenovana stavba G3 – privzela stavbo G2 ter se z njo povezala v novo celoto.

To be exact, we must take into account the building that first stood there. Therefore, the Baroness – now called the G3 building – will adopt the G2 building. Both buildings will form a new whole.

Povsem res je tudi, da so po desetletjih propadanja ob njeni podobi številni zmajevali z glavami in se – vsaj intimno, če že ne na glas – spogledovali z idejo rušitve.

It certainly holds true that, after decades of neglect, many shook their heads at the idea of reconstruction. Instead, they flirted with the idea of demolishing the house – if not out loud, then at least in private.

Kljub zapletom in zadregam je šla pot v pravo smer. Da bo svoje prostore po prenovi dala dekanatu, ker se pač spodobi in gre k šarmu tradicije in stare slave, ki ga uspešno obnovljena stavbinska dediščina s patino starodobnosti in oživljeno reprezentančno arhitekturno podobo imenitno poudari.

Despite complications and dilemmas, the University followed the right path. Initially, the building was supposed to house the Dean’s Office, thanks to the charm of tradition and its old fame, strongly emphasized by the restored architectural heritage with a vintage patina and fresh appearance.

No, pojavila se je zahteva, da mora biti njen prostor v celoti namenjen izobraževalnemu in znanstvenoraziskovalnemu delu. Nihče namreč ne ve in niti ne sluti,

Despite the initial plan, one of the funding requirements stipulated that the entire building must be devoted to educational activities and scientific research. At this point, no one can imagine the challenges that would be addressed in


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kakšni izzivi se bodo rojevali v njenih prostorih in kako bo duh imenitne meščanske hiše odreagiral na ta novi izziv, ki ga v vsej zgodovini časa, ko tam domuje, preprosto ni bil vajen. Dodaten izziv se ponuja s še eno, v našem prostoru relativno drzno potezo. Baronica bo postala hiša znanju odprtih vrat. Določeni del bo 24 ur na dan in sedem dni v tednu namenjen izključno študentom kot prostorska priložnost za sanjanje z odprtimi očmi – za iskrenje novih idej, za tako imenovano predspin-off dogajanje, ki ga sedaj pogosto doživljamo na hodnikih novega dela fakultetne zgradbe. V tako posvečeni prostor se bo dalo vstopiti skozi posebni vhod in taka možnost bo nekaj posebnega tako v okviru FERI kot v okviru celotne Univerze v Mariboru. Še nekaj je pomembno in bo najbrž odigralo svojo vlogo. Zasnova Baroničine hiše ali objekta G3je stvar nekega drugega časa in drugih namenov. Tistim, ki so jo snovali, se tedaj ni niti približno dozdevalo, kaj jo čaka v prihodnosti, ki je

the renovated building and how the spirit of the house would react since, during the entire course of its history, it had never been faced with such challenges. The decision to turn the Baroness into a house of knowledge is another bold move, carrying an additional challenge. A part of the building will be open to students 24/7 in order to create a spatial opportunity to dream with eyes wide open – to come up with new ideas for the so-called pre spin-off process, which has been until now confined to the hallways of the newer part of the Faculty. This part of the building will be accessed through a separate entrance and represents a novelty not only for the Faculty of Electrical Engineering and Computer Science but also for the entire University. Another important fact: The Baroness’ House (the G3 building) was designed in another time and for a different purpose. The architects had no idea of its destiny in the future, which is now our present. The synergistic effects of diversity can play an important part. The G2 building


107 B aronica – neobičajna hiša med sijajem preteklosti in izzivi prihodnosti

T he B aroness – an unusual house between former glory and future challenges

naša sedanjost. Morda bo svoje odigral sinergijski učinek različnosti. Fakultetna zgradba G2 je zasnovana inženirsko, s povsem jasnimi usmeritvami, tako da spodbuja razumevanje novih procesov in idej v tehniških znanostih. Prenovljena hiša je druga zgodba. Je del zgodovine in njene (domnevne) romantike ter eden bolj očitnih dokazov, kako je »secesija oplazila Maribor«. Mimogrede, to je bil čas, ko so se predstavniki mlajše generacije arhitektov in slikarjev ob koncu 19. stoletja odcepili od tradicionalnih umetniških slogov. Ali tudi današnji čas ne kliče po nujni in čimprejšnji odcepitvi od nekaterih zadušljivo prevladujočih slogov? Povsem na mestu je tudi trditev, da gre za nekakšno presečišče tistega, kar je v tem prostoru za vedno minilo, in tistega kar (žal) še ni v celoti nastopilo, čeprav se prav v znanosti bolj kot kje drugje kažejo jasni obrisi drugačnega. To je lahko prostor posebnih spodbud, saj združuje dobro izročilo preteklosti in nove izzive, ki jih vanj prinašajo ljudje nove dobe.

has been designed in accordance with clear guidelines in order to promote the understanding of new processes and ideas in engineering sciences. The Baroness’ House is a completely different story. It is a part of history and its (supposed) romanticism as well as one of the most obvious pieces of evidence demonstrating how “Secession flooded Maribor”. Vienna Secession represents the protest of the younger generation of architects and painters against the traditional art of their forbearers, a “separation” from the past towards the future. Is it not true that the present time also calls for an urgent and immediate separation from some of the prevailing attitudes suffocating our society? Undoubtedly, this building represents a crossroads between something that is gone for good and something that (unfortunately) has not yet entirely occurred; although in science, the first signs of a different attitude are already clearly visible. The Baroness’ House may thus become a place of important incentives combing


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Je torej tisto nekaj, kar utegne delovati kot poseben dražljaj v doživljanju tehnike. Takšne primere poznamo. V številnih okoljih sveta, kjer je za kaj takega obstajala realna možnost, so se zavzeli za navezo med »starim« in »novim«, pa četudi je ostalina preteklosti ohranjena zgolj fragmentarno. Naveza Baroničine hiše in G2 je zato dodatna vrednost in generator spodbud za senzibilne – zazrte v prihodnost. Prenovljeni hiši je prihodnost namenila prostor stičišča tudi na relaciji med fakulteto in industrijo. Prav zaradi tega utegne postati rojstno okolje številnih novih poslovnih poti in profesionalnih izzivov. Ne povsem običajni hiši z bogato fasadno dekoracijo z geometrično in rastlinsko ornamentiko je namenjena nova življenjska etapa z novimi vsebinami in izzivi. Postaja prostor znanja in odprtih misli, pomeni zaokrožitev prostora tehniških fakultet in privlačno

our tradition with new challenges addressed by people of a new era. The house may serve as a special stimulus in the perception of engineering sciences. We are familiar with such examples. At various locations around the globe, people are advocating (if the possibility exists) the link between “old” and “new” despite the fact that relics from the past are sometimes only partially preserved. The integration of the Baroness and the G2 building therefore represents an added value and a driving force of incentives for the sensitive – those looking into the future. The future holds a special spot for the reconstructed building that will represent a link between the faculty and the industry. For this reason, it may become the birthplace of new business opportunities and professional challenges. The slightly unusual house with its geometric and floral façade ornamentation is awaiting a new stage


109 B aronica – neobičajna hiša med sijajem preteklosti in izzivi prihodnosti

T he B aroness – an unusual house between former glory and future challenges

arhitekturno združitev dveh obdobij – tistega, ko je svet stopil v vsega polno 20. stoletje, in sedanjega, ki spet išče poti in rešitev za stiske in zadrege.

in life with new content and fresh challenges. It will become a place of knowledge and open minds, completing the infrastructure of technical faculties and representing an attractive and inspiring piece of architecture integrating two very different periods – one, in which the world entered the 20th century, full of abundance, and the present time, in which we are once again looking for answers and solutions to crises and dilemmas.


ISBN978-961-248-499-6

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Baroničina hiša  

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