Arhitektura kao

otvoreno djelo
Architecture as
the Open Work
arhitekt napisao
architect written by

Maroje Mrduljaš

fotografije photographs by Arhiva Arhitektonski fakultet

u Zagrebu / Archive Faculty of
Architecture, Zagreb (af)
Arhiva / Archive Ivan Crnković (ic)
Bojan Mrđenović (bm)
Ivan Crnković portret portrait Mio Vesović

¶ Na naslovnoj stranici časopisa Čovjek i prostor iz veljače 1975.
reproducirana je aksonometrija koja simulira balonsku per-
spektivu Dječjeg vrtića Grigor Vitez u Samoboru Ivana Crnko-
vića (1971. – 1974.). Uz nacrt, Crnković je upisao dobro poznatu
misao Alda van Eycka: Stablo je list i list je stablo – kuća je
grad i grad je kuća – stablo je stablo, ali je također i veliki list
– list je list, ali je također i malo stablo – grad nije grad ako
nije također i velika kuća – kuća je kuća jedino ako je također
¶ On the cover page of the February 1975 issue of the Man
and Space magazine an axonometry is reproduced that simu-
lates a balloon perspective of the Grigor Vitez kindergarten
in Samobor by Ivan Crnković (1971–74). On the side of the
plan, Crnković wrote a well-known thought of Aldo van Eyck.
Tree is leaf and leaf is tree—house is city and city is house—
a tree is a tree but is also a huge leaf—a leaf is a leaf but is
also a tiny tree—a city is not a city unless it is also a huge (ic)

94 DJEČJI VRTIĆ, SAMOBOR, HRVATSKA KINDERGARTEN, SAMOBOR, CROATIA IVAN CRNKOVIĆ, Dječji vrtić, Samobor IVAN CRNKOVIĆ, Kindergarten, Samobor 95
(ic) i maleni grad. ¶ No, veze projekta vrtića u Samoboru i radova
Van Eycka i nizozemskih strukturalista su složenije. Projekt
vrtića uklapa se u narativ kritičkog razvoja poslijeratnog
modernizma koji su u internacionalnom diskursu artikulirali
pripadnici grupe Team X, no koji je imao i svoje specifične,
individualne zastupnike poput Crnkovića. Jezgru te kritike
sažeo je Theodor Adorno u obraćanju njemačkom Werkbundu
1965. kada je oštro kritizirao funkcionalističku arhitekturu,
smatrajući da je u njoj odnos ljudskog subjekta i arhitekton-
skog objekta previše sličan – objekt je postao zrcalo u kojem
se subjekt ogleda1. Francuski sociolog Jean-Louis Violeau
1 Fogle, Nikolaus: Beautiful Places in Adorno’s Esthetics http://www.uqtr.ca/ae/
Vol_15/Authenticity/Authenticity_Fogle.htm (pristupljeno 9. 4. 2017.)
96 oris, broj 104, godina 2017.
house—a house is a house only if it is also a tiny city. ¶ But
the relations of the design of the kindergarten in Samobor
and works by Van Eyck and the Dutch structuralists are more
complex. The kindergarten design fits into the narrative of
the critical development of post-war modernism, which was
articulated in the international discourse by the members of
the Team X group, but which also had its own specific, indi-
vidual agents like Crnković. The core of this criticism was
summed up by Theodor Adorno in his 1965 address to the
German Werkbund, when he sharply criticized the function-
alist architecture, deeming that, in it, the relationship of the
human subject and architectural object was too similar—
the object became a mirror in which the subject was
oris, number 104, year 2017
precizno detektira promjenu arhitektonske paradigme koju su
zagovarali revizionisti modernizma: Dok je obitelj bila (...)
ključni pojam za arhitekte Modernog pokreta (racionalisti,
produktivisti i ostali), Team X je pokrenuo semantički preokret
prema pojmu zajednice, shvaćene kao lokus razmjene i uzaja-
mnosti... Rečeno jednostavnije, to je zaokret od biološke prema
socioantropološkoj dimenziji2. ¶ I dok su neke od vodećih tema
napuštanja funkcionalističke paradigme bile flesksibilnost i
promjenjivost prostora, i Van Eyck i Crnković, zasebno i iz vla-
stitih pravaca istražuju potencijal apstraktne arhitektonske
forme za stvaranje antropološki smislenih situacija, obojica na
2 Violeau, Jean-Louis: Team 10 and structuralism: analogies and discrepanices, u
Rissalda, Max, Team 10: In search of a Utopia of a Present, str. 283
IVAN CRNKOVIĆ, Dječji vrtić, Samobor
reflected.1 French sociologist Jean-Louis Violeau accurately presjeci, neizvedena
varijanta
detects the change of architectural paradigm advocated by
the revisionists of modernism, Whereas the family was… a sections, unbuilt
landmark notion to the architects of the Modern movement version
(rationalists, productivists, etc.), Team X induced a semantic
(af)
shift towards the notion of the community, understood as
the locus of exchange and reciprocity… Put more simply, this
is a shift from a biological dimension to a socio-anthropo-
logical one.2 ¶ And while some of the leading issues of leaving
1 Fogle, Nikolaus: Beautiful Places in Adorno’s Esthetics. http://www.uqtr.ca/ae/
Vol_15/Authenticity/Authenticity_Fogle.htm [accessed on 9 April 2017]
2 Violeau, Jean-Louis, Team 10 and structuralism: analogies and discrepancies, u
Rissalda, Max, ‘Team 10: In search of a Utopia of a Present’, p. 283.
IVAN CRNKOVIĆ, Kindergarten, Samobor 97

(ic) tragu koncepta otvorenog djela (opera aperta) Umberta Eca.
Prema Ecu, umjetničko djelo dovršava recipijent, kroz čin
čitanja i doživljaja, a koji ovisi o njegovim ili njezinim predis-
pozicijama i afinitetima. No, ta raznolika čitanja i različiti učinci
uvijek ovise o izvornoj strukturi djela. Tako i precizno defini-
rana, jasna, egzaktna arhitektonska forma ima kapacitet za
raznolika čitanja i doživljaje ako je projektirana kao višeznačan,
otvoreni sustav. ¶ Aldo van Eyck bio je skeptičan prema
mogućnosti potpune transformabilnosti prostora i tražio je
ispravnu vezu između prostorne forme i društvenih institucija.
To traženje argumentira u teorijskom tekstu napisanom
98 oris, broj 104, godina 2017.
the functionalist paradigm were flexibility and variability of
space, both Van Eyck and Crnković, individually and from
their own directions investigate the potential of abstract
architectural form for creating anthropologically meaningful
situations, both on the trail of the concept of open work
(opera aperta) by Umberto Eco. According to Eco, an art-
work is completed by the recipient, through the act of read-
ing and experience, which depends on their predispositions
and preferences. However, this varied readings and different
effects always depend on the original structure of the work.
Such precisely defined, clear, exact architectural form also
oris, number 104, year 2017
Prema Umbertu Ecu, umjetničko According to Umberto Eco, an
djelo dovršava recipijent, kroz artwork is completed by the
čin čitanja i doživljaja, a koji recipient, through the act of reading
ovisi o njegovim ili njezinim and experience, which depends on
predispozicijama i afinitetima their predispositions and preferences
povodom projekta Sirotišta Amstelveenseweg u Amsterdamu has the capacity for a variety of readings and experiences if
(1955. – 60.): Projekt kuće započinje i podržava uzorak života it is designed as a multifaceted, open system. ¶ Aldo van Eyck
određenog dana i razvijen je za njezine štićenike. Fleksibilnost was skeptical about the possibility of total transformability
ili adaptabilnost kuće (…) dozvoljava razvoj točno tog uzorka of space and sought the correct relationship between spatial
te ne može jednako podržati uzorak dnevnog života ili struk- form and social institutions. He elaborated on this search in
ture grupe koja se fundamentalno razlikuje od one na kojoj je the theoretical text written on the occasion of the design of
kuća bazirana. Ekstremna fleksibilnost takve vrste značila bi the Amstelveenseweg orphanage in Amsterdam (1955–60).
lažnu neutralnost poput rukavice koja ne pristaje nijednoj ruci The design of the house starts and supports a pattern of life
jer pristaje svima... Projekt nastoji pružiti izgrađeni konceptu- on a certain day and has been developed for its wards. The
alni okvir – postaviti pozornicu – za dvojni fenomen indivi- flexibility and adaptability of the house... allows the develop-
dualnosti i kolektivnosti bez pribjegavanja proizvoljnom ment of exactly this pattern, and cannot support equally the
akcentuiranju bilo kojeg na račun drugog, bez prikrivanja zna- pattern of daily life or the structures of the group which is
čenja bilo kojeg od dvaju. Nijedan osnovni dvojni fenomen ne fundamentally different from the one on which the house is
može biti sveden na inkompatibilne polarnosti jer će takva based. The extreme flexibility of this kind would mean a false
podjela naškoditi onome za što se dvojni fenomeni zauzimaju3. neutrality like a glove that does not fit any hand because it
Za koncept dvojnih fenomena treba naći ispravnu mjeru (right- fits them all... The design seeks to provide a built conceptual
size): Ono što je prava mjera jest istovremeno veliko i malo, framework—set the stage—for a dual phenomenon of (ic)
nekoliko i mnogo, blizu i daleko, jednostavno i kompleksno,
otvoreno i zatvoreno4. Van Eyck smatra da projekt ne može
afirmirati značaj dvojnih fenomena ako je nedeterminiran,
neodređen ili arhitektonski nedovoljno artikuliran kako bi
zadovoljio imperativ potpune fleksibilnosti. Takav projekt
ispražnjen je od značenja i svoje egzistencijalne uloge. Učinite
dobrodošlicu od svakih vrata i prizor od svakog prozora,
učinite od njih mjesto, zato što se područje ljudske udomaće-
nosti nalazi u tom području ‘između’ (‘in between’). Upravo to
područje arhitektura nastoji artikulirati. Kada to govorim,
intencija mi je ponovno razotkrivanje pogrešnih značenja kako
bih smisao mjere ispunio onim što ‘ispravna mjera’ (‘right-size’)
implicira. Čim se uravnotežujući utjecaj područja ‘između’ (…)
manifestira u razumljivo artikuliranoj konfiguraciji, zasigurno
će se povećati prilika da se izmire zastrašujući polariteti koji
3 Van Eyck, Aldo: The Medicine of Reciprocity Tentatively Illustrated, u Ligtelijn,
Vincent (urednik): Aldo van Eyck Works, Birkahuser, 1999., str. 88
4 Van Eyck, Aldo: Steps towards a configurative discipline, Forum, 1962., br 2, str. 81
IVAN CRNKOVIĆ, Dječji vrtić, Samobor IVAN CRNKOVIĆ, Kindergarten, Samobor 99
 su do sada kontinuirano uznemiravali ljudsku istinsku priseb-
nost5. ¶ Udruženi koncepti in between i dvojni fenomeni upu-
ćuju na uzajamnost i višestrukost odnosa koji se odvijaju unu-
tar arhitektonskog okvira. Ti odnosi uspostavljaju se na
društvenom planu, no ohrabreni su samom arhitekturom. U
duhu Ecova poziva na otvoreno djelo, arhitektonske konfigu-
racije trebale bi poticati pojedinca i kolektiv na kreativno otkri-
vanje potencijala prostora. Arhitektonski elementi mogu i
trebaju biti formalno apstraktni, ali moraju imati pravu mjeru
koja potiče performativnost prostora i njegove kapacitete za
stvaranje događaja. Van Eyck je vjerodostojno pokazao poten-
cijal apstraktnih geometrijskih formi za raznoliku i imagina-
tivnu interpretaciju pojedinca i zajednice u nekoliko stotina
realiziranih dječjih igrališta u Amsterdamu. Djeca su se brzo
prilagođavala jednostavnim geometrijskim oblicima i razvijala
svoju maštu prilikom otkrivanja načina na koje ti elementi
mogu biti korišteni i doživljeni. ¶ Dječji vrtić u Samoboru pro-
jektiran je analogno tim postavkama. Crnković definira skup
pravila prema kojima arhitektonski elementi formiraju pro-
storne odnose, a mutacijama tih pravila nastaje cjelina. Zgrada
je organizirana u vidu niza paralelno postavljenih izduženih
traka i strukturirana je sukladno konceptu Louisa Kahna slu-
ženog (served) i služećeg (servant) prostora. Služeni prostori
su otvorene i zatvorene sobe, služeći prostori su garderobe i
sanitarije. Međutim, ta podjela je relativizirana uvođenjem
uskih i dugačkih zenitalno osvijetljenih poteza ispod lanterni.
Ti međuprostori, potezi intenzivnog svjetla, istovremeno su
kopča i razdjelnica između služećih i služenih prostora. U gusto
tkanoj strukturi vrtića služeći i služeni prostori nisu binarni
elementi, nego dio dvojnog fenomena u koji je uključen i in
individuality and collectivity without resorting to arbitrary
accentuation of any one at the expense of the other, without
hiding the meaning of either. Not one basic dual phenome-
non can be reduced to an incompatible polarity, because such
a division will harm what the dual phenomena advocate.3
For the dual phenomena concept a right-size needs to be
found: What the right-size is is both great and small, a few
and many, near and far, simple and complex, open and
closed.4 Van Eyck argues that the design cannot affirm the
importance of dual phenomena if it is undetermined, vague,
or architecturally insufficiently articulated to satisfy the
imperative of complete flexibility. Such a design is emptied
of meaning and its existential role. Do welcome from every
door and a scene of every window, make a place of them,
because the area of human domestication is located in the
area ‘in between.’ It is this area that architecture seeks to
articulate. When I say this, my intention is to expose once
again the false meanings in order that the sense of measure
be fulfilled with what the right-size implies. As soon as the
balancing influence of the area ‘in between’… manifests itself
in the understandably articulated configuration, the oppor-
tunity to reconcile frightening polarities that have so far
continuously disturbed people’s true presence of mind will
surely increase.5 ¶ The associated in between and dual phe-
nomena concepts refer to the reciprocity and multiplicity of
relationships that take place within an architectural frame-
work. These relations are established on the social level, but
are encouraged by the architecture itself. In the spirit of Eco’s
3 van Eyck, Aldo: The Medicine of Reciprocity Tentatively Illustrated, u Ligtelijn,
Vincent (editor): Aldo van Eyck Works, Birkahuser, 1999, p. 88.
4 van Eyck, Aldo: Steps towards a configurative discipline, Forum, 1962, No. 2, p. 81. between potez ispod lanterni. Igra dvojnih fenomena čita se u call for the open work, architectural configurations should (ic)

(bm) 5 Ibid., str. 82 5 Ibid, p. 82. različitim mjerilima i u različitim sustavima. Potezi ispod lan-
(bm) terni su ambivalentni arhitektonski elementi čije kontinuirano
protezanje kroz čitav organizam vrtića može zavarati. Ti
potezi jesu prostori kretanja i organizacije vrtića, ali oni tako-
đer prodiru i u sklopove vrtićkih jedinica, protežu se kroz
terase u eksterijer gdje sudjeluju u formiranju potprostora i
prostornih sklopova. Formalno uvijek isti potezi ispod lanterni
dobivaju različita značenja i uloge u ovisnosti o poziciji unutar
sustava. Nadalje, iste prostorne konfiguracije primijenjene su
i na sklopovima vrtićkih jedinica i na terasama, sobama na
otvorenom, čineći i od odnosa unutarnje-vanjsko dvojni feno-
men. Kopče terasa i soba su mali metalni mostovi, a između
terasa i okoliša su stubišta – prostori između koji artikuliraju
prijelaz. ¶ Doživljava se nedvojbena prisutnost arhitektonskog
reda, ali on se čita kroz niz zasebnih segmenata koji su derivat
cjeline. Osjećaj cjeline ovisi o čitanju i razumijevanju niza
encourage the individual and the collective to creative
detection of the potential of spaces. Architectural elements
can and should be formally abstract, but they must have the
right-size that encourages the performativity of space and
its capacities to create events. Van Eyck credibly showed the
potential of abstract geometric forms for a diverse and
imaginative interpretation of the individual and the com-
munity in several hundred realized playgrounds in Amster-
dam. The children quickly adapted to simple geometric
shapes and developed their imaginations when discovering
ways in which these elements could be used and experi-
enced. ¶ The kindergarten in Samobor was designed analog
to those settings. Crnković defines a set of rules according
to which the architectural elements form spatial relation-
ships, and through mutations of these rules is created a
whole. The building is organized in the form of a series of

100 oris, broj 104, godina 2017. oris, number 104, year 2017 IVAN CRNKOVIĆ, Dječji vrtić, Samobor IVAN CRNKOVIĆ, Kindergarten, Samobor 101
 fragmenata i obrnuto, što je također dvojni fenomen: grad je
kuća i kuća je grad. Precizna formalna disciplina uređivanja
prostora u strukturne paralelne trake usporediva je s Kimbell
Art Museumom (1967. – 72.) Louisa Kahna, s kojim projekt
vrtića dijeli model varijacije osnovne strukturne matrice. No,
na razini urbanizma, strukturne trake u vrtiću u Samoboru su
međusobno pomaknute, a javljaju se i pomaci koji se prilago-
đavaju lokalnim uvjetima i potrebama za ispravnom mjerom,
a prostor odlikuje labirintska jasnoća. Otvaraju se pogledi i
kontakti prema susjednim sobama, ali ne i dalje od njih, pa
cjelina prostornog sustava nije smjesta saglediva. Također, iako
se čini da je organizacija prostora usmjerena longitudinalno uz
poteze ispod lanterni, glavni ulaz i sekvenca javnih soba – hall,
prostor višenamjenski, blagovaonica – postavljeni su pod pra-
vim kutom u odnosu na tu mrežu. Upravo je ta formalno ispre-
(ic) kidana sekvenca značenjska jezgra inače nehijerarhijski
102 oris, broj 104, godina 2017. oris, number 104, year 2017 IVAN CRNKOVIĆ, Dječji vrtić, Samobor
parallelly placed elongated strips, and structured according tlocrt, izvedena i
neizvedena faza
to Louis Kahn’s concept of served and servant spaces. Served
spaces are open and closed rooms, servant spaces are chang- floor plan, built and
ing rooms and sanitary facilities. However, this division is unbuilt phase
relativized by introducing narrow and long, stretches of
(af)
zenithal light under the lanterns. These interspaces, the stre-
ches of intense light, are both the clasp and the dividing line
between the servant and served spaces. In the densely woven
structure of the kindergarten, the served and servant spaces
are not binary elements, but part of the dual phenomenon
in which the in between stretch under the lanterns is also
included. The play of dual phenomena is read in different
scales and in different systems. The stretches under the lan-
terns are ambivalent architectural elements whose continu-
ous expansion through the entire organism of the kinder-
garten can be deceiving. These stretches are the areas of
IVAN CRNKOVIĆ, Kindergarten, Samobor 103
 (bm)

movement and organization of the kindergarten, but they

also penetrate into the assemblies of kindergarten units,
extend through the terraces into the exterior where they
participate in forming sub-spaces and spatial assemblies.
Formally always the same stretches under the lanterns get
different meanings and roles depending on their position
within the system. Furthermore, the same spatial configura-
tions were used for both the assemblies of kindergarten units
and terraces, the rooms in the open, making a dual phenom-
enon of the inside-out relationship too. The clasps of the
terraces and rooms are small metal bridges, and between the
terraces and the environment of the stairs: the spaces
between that articulate the event of crossing. ¶ The undeni-
able presence of architectural order is experienced, but it is
read through a number of separate segments which are the
derivative of the whole. The feeling of the whole depends
on the reading and understanding of a series of fragments,
and vice versa, which is also a dual phenomenon: city is house
and house is city. The precision formal discipline of arranging
the spaces in structural parallel strips is comparable with the
Kimbell Art Museum (1967–72) by Louis Kahn, with which
the design of the kindergarten shares the model of variation
(ic)

104 oris, broj 104, godina 2017. oris, number 104, year 2017 IVAN CRNKOVIĆ, Dječji vrtić, Samobor IVAN CRNKOVIĆ, Kindergarten, Samobor 105

(ic) organiziranog sustava. Koncept paralelnih traka potencijalno
nudi daljnji rast i prostiranje vrtića, bilo daljnjim nizanjem para-
lelnih traka ili njihovim produživanjem, jer vanjske sobe funk-
cioniraju kao atriji. Ukinuta je koncepcija komponiranja u korist
sistemskog razvoja matematički logične strukture, a arhitek-
tura ne gradi objekt nego priprema okvir za stvaranje situacija.
Tako je odnos arhitektonskog okvira i performansi prostora, u
106 oris, broj 104, godina 2017.
of the basic structural matrix. But at the level of urban plan- (ic)
ning, the structural strips in the kindergarten in Samobor are
mutually shifted, and there are also shifts that are adapted
to local conditions and needs for the right- size, and the
space is characterized by a labyrinthine clarity. Views of the
adjacent rooms and contacts to them open up, but not fur-
ther from them, so the whole of the spatial system is not
immediately perceptible. Also, although it seems that the
organization of space is oriented longitudinally along the
stretches under the lanterns, the main entrance and the
sequence of public rooms—the hall, multiple-purpose room
for, dining room—are placed at right angle to that grid. It
is this formally broken sequence that is the semantic core of
the otherwise non-hierarchically organized system. The con-
cept of parallel strips potentially offers further growth and
propagation of the kindergarten, either through further
sequencing of parallel strips, or through their prolongation
because the outside rooms function as atria. Abolished is the
concept of composing in favor of the systematic develop-
ment of mathematical logical structure, and architecture
does not build the object, but prepares a framework for cre-
ating situations. So is the relationship of the architectural
framework and the performances of space, in the spirit of
Eco’s open work, in moving. ¶ All building elements have a
clear role in defining spatial units or their connections. In the
vertical plan, the spatial form is described with solid walls
that never form angles, but are free-standing, massive
square pillars, parapet walls, and their upper complement:
wall-beams. In the horizontal plan, the spatial units are
determined by the floor treatment and the ceiling in which
syncopations happen too—gaps and the changes in height.
However, parapets and wall-beams are also part of the hori-
zontal definition of the connected-separated spaces, for
example, the links of the living room to the interspace under
the lantern, or the edges of the dining room. Spaces are thus
open, but always clearly defined. The organism of the kin-
dergarten is not liquid space, but a series of connected-
separated places or rooms. While the construction elements
are abstract, the rooms are specifically defined. ¶ The ground
plan proportions of the room are either square or tend to be
square in order for their organization to be non-hierarchical
and open. Crnković handles the height as an element of iden-
tification or right-size so the openings inside the interior and
the glass walls towards the exterior follow the same height
of 212 cm, with the vertical horizon adjusted to children’s
age. While this right-size is continuous, the ceiling heights
of served and servant spaces vary in proportion to the
oris, number 104, year 2017 IVAN CRNKOVIĆ, Dječji vrtić, Samobor IVAN CRNKOVIĆ, Kindergarten, Samobor 107
 Zidovi se ne spajaju na uglu nego
ostaju otvoreni i sugeriraju sastav-
ljenost cjeline od zasebnih gradbenih
elemenata, a ne od volumena
(ic)
duhu Ecova otvorenog djela, u kretanju. ¶ Svi gradbeni ele-
menti imaju jasnu ulogu definiranja prostornih jedinica ili nji-
hovih veza. U vertikalnom planu prostorna forma je opisana
punim zidovima koji nikada ne formiraju uglove nego su slo-
bodnostojeći, masivnim četvrtastim stupovima, parapetnim
zidovima te njihovim gornjim komplementom: zidovima-gre-
dama. U horizontalnom planu prostorne jedinice su određene
tretmanom poda te stropom u kojem se također događaju
sinkope – procjepi i promjene u visini. No, parapeti i zidovi-
grede također su dio su i horizontalne definicije povezano-
(af) odijeljenih prostora: na primjer, veze sobe za boravak s
108 oris, broj 104, godina 2017. oris, number 104, year 2017 IVAN CRNKOVIĆ, Dječji vrtić, Samobor
The walls are not connected in the
corner, but stay open and suggest a
whole assembled of individual con-
struction elements, not of volumes
(ic)
ground plan area or the significance of each space. Vladimir
Bedenko explains the concept of varying scale: The main
problem in the design of the kindergarten is the problem of
the scale and dimensions of space for adults and children ...
Spatial values of Crnković’s kindergarten are the result of the
handling harmonized and contrasting scale relations.6
Bedenko also explains the experiential qualities of spatial
segments, By framing the terrace with pillars and partial
covering, the outer space is fenced and protected, a place of
6 Bedenko, Vladimir: Dječji vrtić u Samoboru, Čovjek i prostor, No. 263, February
1975., Publishing activity of the Croatian Association of Architects, Zagreb, p. 8.
IVAN CRNKOVIĆ, Kindergarten, Samobor 109
(bm) međuprostorom ispod lanterne ili rubova blagovaonice. Uto-
liko su prostori otvoreni, ali uvijek i jasno definirani. Organizam
vrtića nije tekući prostor nego niz povezano-odijeljenih mjesta
ili soba. Dok su gradbeni elementi apstraktni, sobe su kon-
kretno definirane. ¶ Tlocrtne proporcije sobe su ili kvadratne
ili teže kvadratu kako bi njihova organizacija bila nehijerarhij-
ska i otvorena. Crnković barata visinom kao elementom iden-
tifikacije ili ispravne mjere pa otvori unutar interijera i staklene
stijene prema eksterijeru slijede istu kotu od 212 cm, vertikalni
horizont usklađen s dječjim uzrastom. Dok je ta ispravna mjera
kontinuirana, visine stropova služećih i služenih prostora se
mijenjaju u proporciji s tlocrtnom površinom ili značajem poje-
dinog prostora. Vladimir Bedenko objašnjava koncepciju vari-
ranja mjerila: Osnovni problem kod projektiranja vrtića pro-
blem je mjerila i dimenzija prostora za odrasle i djecu...
Prostorne vrijednosti Crnkovićeva vrtića proizlaze iz baratanja
usklađenim i kontrastnim odnosima mjerila6. Također, Bedenko
objašnjava i doživljajne kvalitete prostornih segmenata: Uokvi-
rivanjem terase stupovima i djelomičnim natkrivanjem vanjski
6 Bedenko, Vladimir: Dječji vrtić u Samoboru, Čovjek i prostor, br. 263, veljača 1975.,
Izdavačka djelatnost Saveza arhitekata Hrvatske, Zagreb, str. 8
110 oris, broj 104, godina 2017.
security and belonging. The glass wall is not... an unwelcome
barrier to complete spreading, but a fence between the outer
and inner living room, of partial and full protection.7 ¶ Archi-
tectural order is potentiated by the materiality of walls and
columns coated with bricks. The walls are never connected
in the corner, but stay open and suggest a whole assembled
of individual construction elements, not of volumes. The
corners thus form a negative sub-space that admits side light
in a manner that is complementary to the area under the
lantern. The tectonic relationship of bearing and born is
always clear, so the metal profile on the floating beams sup-
ports the lining of bricks. ¶ A difficult requirement is placed
before the architecture of the institution of the kindergar-
ten—to follow the growing up of children. Therefore the
architecture of the kindergarten should not be immediately
understandable, but be sufficiently complex and open to the
changing experiences and continuous learning of the logic
of spatial form, and also the logic of social relations. The
configuration of Crnković’s design enables gradual
7 Ibid, p. 8.
oris, number 104, year 2017
(bm) je prostor ograđen i zaštićen, mjesto sigurnosti i pripadanja.
Staklena stijena ipak nije (...) nepoželjna barijera do potpunog
prostiranja, nego ograda između vanjskog i unutarnjeg
boravka, djelomične i potpune zaštićenosti7. ¶ Arhitektonski
red potenciran je materijalnošću zidova i stupova obloženih u
opeku. Zidovi se nikada ne spajaju na uglu nego ostaju otvoreni
i sugeriraju sastavljenost cjeline od zasebnih gradbenih ele-
menata, a ne od volumena. Tako uglovi formiraju negativni
potprostor koji propušta bočno svjetlo na način koji je kom-
plementaran prostoru ispod lanterne. Tektonički odnos nosi-
vog i nošenog uvijek je jasan, pa metalni profil na lebdećim
gredama pridržava oblogu od opeke. ¶ Pred arhitekturu insti-
tucije vrtića postavlja se težak zahtjev – slijediti odrastanje
djece. Zato arhitektura vrtića ne bi trebala biti odmah razu-
mljiva, nego biti dovoljno kompleksna i otvorena za promje-
njive doživljaje i kontinuirano učenje logike prostorne forme,
ali i logike društvenih odnosa. Konfiguracija Crnkovićeva pro-
jekta omogućuje postupnu identifikaciju s različitim elemen-
tima arhitekture – od razumijevanja logike soba za boravak i
7 Ibid., str. 8
IVAN CRNKOVIĆ, Dječji vrtić, Samobor
identification with different elements of architecture—from (bm)
understanding the logic of living rooms and their boundary
and servant spaces, through learning about relationships of
the interior, exterior and the environment, to looking at the
whole. The configuration of the kindergarten thus becomes
a pedagogical instrument through which the child masters
the creation of active relationships to both spatiality and the
social life that this space hosts. Although there are no mov-
ing elements or undetermined spaces, the architecture of
the kindergarten is open. ¶ Crnković’s kindergarten is per-
suasive as both an autonomous, programmed architectural
form, and as a space that supports the pattern it is designed
for. Adopting the experiences of different cultural sources,
from Van Eyck to Louis Kahn to Umberto Eco, Crnković
designed an entirely authentic, even enigmatic work, an
architecture that contributes performatively rather than
declaratively to the development of emancipated, open soci-
ety. ¶ At the opening of the partially realized kindergarten,
Juro Bujan, the president of the Self-management Commu-
nity of Interests for Pre-School and Primary Education
emphasized the beauty and functionality, but also
IVAN CRNKOVIĆ, Kindergarten, Samobor 111
 Crnkovićev vrtić je uvjerljiv i Crnković’s kindergarten is (ic)

kao autonomna, programirana persuasive as both an autonomous,

arhitektonska forma i kao prostor programmed architectural form, and
koji podržava uzorak za koji as a space that supports the pattern
je projektiran it is designed for

njihovih rubnih i služećih prostora, preko učenja o odnosima mentioned the emphasized issues and dilemmas about
interijera, eksterijera i okolice, do sagledavanja cjeline. Konfi- whether such costly construction was necessary or the same
guracija vrtića tako postaje pedagoški instrument putem kojeg effect could have been achieved with lesser resources, and
dijete svladava stvaranje aktivnog odnosa i prema prostornosti that the issue should have been be self-critically dealt with.8
i prema društvenom životu koji taj prostor udomljava. Iako Meanwhile, the kindergarten has been improvised and
nema pomičnih elemenata ili nedeterminiranih prostora, arhi- cheaply rebuilt, and today looks like a favela. The original
tektura vrtića je otvorena. ¶ Crnkovićev vrtić je uvjerljiv i kao configuration is resistant and still looms, but some environ-
autonomna, programirana arhitektonska forma i kao prostor ments look miserable. Crnković, at least as is known to the
koji podržava uzorak za koji je projektiran. Usvajajući iskustva author of this text, showed no special sentiment towards
različitih kulturnih izvora, od Van Eycka i Louisa Kahna do the fate of the kindergarten. According to his view, once
Umberta Eca, Crnković projektira sasvim autentično, pa i eni- completed, the house is left to the users to use it the best
gmatično djelo, arhitekturu koja performativno, a ne deklara- they know how.
tivno doprinosi razvoju emancipiranog, otvorenog društva.
¶ Na otvaranju djelomično realiziranog vrtića predsjednik 8 ‘Zahvaljujemo radnim ljudim..’, Samoborske novine, 15. September 1975, p. 4.
Samoupravne interesne zajednice za predškolski odgoj i
osnovno obrazovanje, Juro Bujan, istaknuo je ljepotu i funkci-
onalnost, ali se osvrnuo i na isticana pitanja i dileme je li tako
skupa izgradnja bila potrebna ili bi se i uz manja sredstva
mogao postići isti efekt, te da bi se trebalo samokritički odno-
siti prema tom pitanju8. Vrtić je u međuvremenu improvizirano
i jeftino pregrađivan i danas nalikuje na favelu. Izvorna konfi-
guracija je rezistentna i dalje se nazire, no pojedini ambijenti
djeluju očajno. Crnković, barem koliko je autoru ovog teksta
poznato, nije pokazivao posebni sentiment prema sudbini
vrtića. Prema njegovu stavu, jednom dovršena kuća prepu-
štena je korisnicima da je koriste najbolje što znaju.

8 Zahvaljujemo radnim ljudima..., Samoborske novine, 15. rujna 1975., str. 4

112 oris, broj 104, godina 2017. oris, number 104, year 2017 IVAN CRNKOVIĆ, Dječji vrtić, Samobor IVAN CRNKOVIĆ, Kindergarten, Samobor 113