Emir Kadi

ARHITEKT / ARCHITECT Reuf Kadi

Sarajevo, 2010.
Autor i izdava/Author and Publisher
Emir Kadi

Design
Communis, Sarajevo

tampa/Print
Bemust, Sarajevo

Prvo izdanje/First Printing

SARAJEVO, 2010.

CIP - Katalogizacija u publikaciji

Nacionalna i univerzitetska biblioteka
Bosne i Hercegovine, Sarajevo

72(497.6):929 Kadi R.

KADI, Emir
Arhitekt Reuf Kadi i poetci moderne
arhitekture u Bosni i Hercegovini = Architect Reuf
Kadi and the beginnings of modern architecture in
Bosnia and Herzegovina / [autor] Emir Kadi. -
Sarajevo : Emir Kadi, 2010. - 95 str. : ilustr. ;
21 x 21 cm

Tekst uporedo na bos. i engl. jeziku. Sjeanja,

Memories / Zlatko Ugljen: str. 5-8. -
Bibliografija: str. 95

ISBN 978-9958-891-53-3

COBISS.BH-ID 18291974
Emir Kadi

ARHITEKT / ARCHITECT Reuf Kadi

I POETCI MODERNE ARHITEKTURE U BOSNI I HERCEGOVINI
AND THE BEGINNINGS OF MODERN ARCHITECTURE IN BOSNIA AND HERZEGOVINA
4
Sjeanja
Vrlo davno i relativno kratko trajalo je moje
asistiranje kod ing. arh. Reufa Kadia. Tako su i
sjeanja na te dane prije ezdeset godina po-
malo izblijedila, ali ne i zaboravljena.
Po zavrenoj Srednjoj tehnikoj koli u Saraje-
vu, istoj onoj koju je zavrio i Reuf Kadi dva-
desetih godina prolog stoljea, poeo sam
praktino upoznavati i izuavati ovaj uzbud-
ljivi svijet arhitekture. Tada nisam bio svje-
stan da radim uz ovjeka iza koga stoji izuzet-
no bogat i uspjean graditeljski opus, nastao
tridesetih godina dijelom u koautorstvu s
njegovim bratom profesorom Muhamedom
Kadiem, kako uostalom podsjea u tekstu
ove publikacije i sin Reufa Kadia, inenjer
graevine Emir Kadi.
Koliko znam za sada ne postoje vjerodostoj-
na saznanja o kakvoj i kolikoj saradnji se radi.
Ipak, za sarajevsku Modernu koja je tada, tri-
desetih godina, bila u punom jeku, to i nije od
presudnog znaaja gledajui iz ireg i opeg and looking from a broader and more general
aspekta. Znamo, uostalom, i za neke objek-
te koji nisu rezultat zajednikog rada a ipak
zrae istovrijednom i lako prepoznatljivom li-
kovnom kulturom. Bilo kako bilo, braa Kadii
donirali su Bosni i Hercegovini pa i ire djela
koja bez svake sumnje predstavljaju vrh ose-
bujne batine savremene arhitekture.
Memories
A long time ago and for a relatively short time,
I was an assistant to architect Reuf Kadi. My
memories of those days sixty years ago have
somewhat faded but have not been forgotten.
After graduating from the Technical Middle
School in Sarajevo, the same school that Reuf
Kadi attended in the 1920s, I was starting to
explore and familiarise myself with the excit-
ing world of architecture. At that time I was not
aware that I was working next to a man who
had such an exceptionally rich and successful
architectural background accumulated during
the 1930s, partially in cooperation with his
brother Professor Muhamed Kadi. In this text,
Reuf Kadis son, Emir Kadi, also refers to this
cooperation.
As far as I know, there is no undisputable in-
formation about the type and extent of this
cooperation. Nevertheless, for Sarajevos Mod-
erna, which in those 1930s was in full bloom,
perspective, this is not very significant. We, by
the way, do know of some buildings that were
not done jointly and they still reflect the same
values and easily recognizable visual culture. In
large terms, the Kadi brothers donated to Bos-
nia and Herzegovina, and even beyond it, works
5
 Dvadesetih godina pohaao je Reuf Kadi
Srednju tehniku kolu u Sarajevu, dakle u
vrijeme kada je ve sasvim razvijeno formuli-
ranje osnovnih principa Moderne.
Prva saznanja o problemima savremene ar-
hitekture imao je sreu da upoznaje i otkriva
kod doajena moderne arhitekture BiH, ueni-
ka Prake arhitektonske kole prof. Duana
Smiljania, kole koja prihvata i elaborira ide-
je Bauhausa unosei vlastiti identitet.
U ehoslovakoj je tada funkcionalizam u pu-
nom zamahu, onaj zdravi funkcionalizam koji
zagovara skladnu sintezu sadraja i forme
posebno u kulturi stanovanja, u jedinstvu sa
rezultatima tehnikog napretka, to e se po-
sebno reflektirati na stambene zgrade Reufa
Kadia koje i inae dominiraju u njegovim pro-
jektima i realizacijama.
U najveem broju to su interpolacije. Tu je
Kadi zaista demonstrirao visoki artizam u
kojem prostorna organizacija i sadraji stam-
bene jedinice ne ugroavaju njen septum i
obratno, ve ine optimalnu simbiozu.
Mislim da treba posebno spomenuti i akcenti-
rati kao izuzetan primjer zgrade Vakuf Hovad-
a Kemaludina (Mekteb). Na njoj se i danas
6
which without doubt represent the peak of a
distinctive modern architectural inheritance.
In the 1920s, when Reuf Kadi was a student
at the Technical Middle School in Sarajevo, the
foundation of the basic principles of modern
architecture was already fully developed. Kadi
was fortunate enough to learn about contem-
porary architecture from his teacher Professor
Duan Smiljani, doyen of modern architecture
in Bosnia and Herzegovina and former stu-
dent at the Prague Architectural School. The
Prague School embraced and elaborated on
the Bauhaus ideas and contributed its own dis-
tinctive identity.
At the time, functionalism was in full force in
Czechoslovakia. It was a healthy functional-
ism which promoted harmonic synthesis of
content and form, particularly in the culture of
habitation and in the incorporation of techni-
cal advances. This was especially reflected in
Reuf Kadis residential buildings which domi-
nate his projects and realisations. They were
predominantly interpolations. Here Kadi really
demonstrated high artism in which the organi-
sation of space and the content of a residential
unit did not endanger its septum, and vice versa,
but they formed an optimal symbiosis. I think
that the Vakuf Hovada Kemaludin (Mekteb)
moe uiti kako interpolirati novo na zatee-
noj patiniranoj matrici, zapravo podii likovno
arhitektonski nivo zateenog.
Ne dozvoljavajui da sve to bude zaboravlje-
no dobili smo ovo fino, mekano i na svoj nain
neminovno sa prizvukom sentimentalnosti i
nostalginosti, tivo u kojem sin pokuava pri-
zvati sjeanja na oca i njegovo zavidno djelo.
Naravno slika sina o ocu govori daleko senzi-
bilnije jer, izmeu ostalog, sin traga za odre-
enom nepravdom koja je ocu moda nane-
sena svjesno ili nesvjesno, iz ega e proizai
oevo razoarenje pa e u punim stvaralakim
godinama prekinuti tako uspjenu aktivnost
projektanta i graditelja. Razloge prave ne zna-
mo. Moemo samo pretpostavljati.
A ja se, evo, prisjeam poratnog vremena s
kraja etrdesetih i poetka pedesetih godina
prolog stoljea.
U Sarajevo tada na ispomo dolaze arhitekti iz
Slovenije, Hrvatske i Srbije. Istini za volju nisu
to bile linosti dijapazona i stvaralakih kapa-
citeta jednog Reufa Kadia. Pa ipak iz nekih
razloga znaajnije javne i stambene objekte
koji se tada projektiraju i grade u Sarajevu do-
djeljuju se njima.
should be mentioned here as an example of an
exceptional building. Even today one can learn
from it how to interpolate the new on an exist-
ing patinated matrix, actually raising the visual
and architectural level of that matrix.
In his efforts to ensure that all this not be for-
gotten, we receive this fine, gentle, and inevita-
bly somewhat sentimental and nostalgic text in
which a son tries to recall memories of his fa-
ther and of his fathers substantial opus. Natu-
rally, the sons picture of his father speaks much
more sensitively because, among other things,
the son is searching for injustices that may
have been done to his father, either intention-
ally or not, which resulted in the fathers frus-
trations and finally in his decision to stop his
successful architectural career during his most
creative years. We do not know the real reasons
for this. We can only presume.
And here I am recalling the post-war period
from the late 1940s and early 50s.
At that time a number of architects from Slo-
venia, Croatia and Serbia came to Sarajevo to
help. In truth, their diapason and creative ca-
pacity was not at Reuf Kadis level. Neverthe-
less, for some reason the most significant pub-
lic and residential buildings that were designed
7
 Otvara se Tehniki fakultet s odsjekom za ar-
hitekturu. I pored manjka nastavnika, tu nema
mjesta za Reufa Kadia.
Sjeam se tog pasioniranog stvaraoca, inte-
lektualca evropskog duha, dostojanstvenog,
ponosnog, uvijek spremnog da pomogne i
posavjetuje saradnike, radinog, vedrog i du-
hovitog, autoritativnog, koji to ne pokazuje ali
vi ga osjeate.
Zlatko Ugljen
8
and built at that time were given to them. At the
same time, a Technical Faculty with an Archi-
tectural Department was formed in Sarajevo.
In spite of the shortage of teaching staff, there
was no place there for Reuf Kadi.
I remember this passionate creator, an intelec-
tual with a European attitude, dignified, proud,
always ready to help and advise his coworkers,
dilligent, optimistic and witty, authoritative in
a way that was unassuming but still conveyed.
Zlatko Ugljen
 Emir Kadi
ARHITEKT / ARCHITECT Reuf Kadi

9
 abi

10
11
 Uvod
Reuf Kadi nije bio obian arhitekt. Bio je va-
an unosilac avangardnih ideja i smatra se
jednim od stvaralaca rane moderne arhitek-
ture u Bosni i Hercegovini.
Reuf Kadi je bio moj otac. Jo od njegove ne-
oekivane smrti 1974. godine alio sam to
nisam, dok je to jo bilo mogue, od njega vie
saznao o njegovu radu i o tome zato je tako
iznenada odluio napustiti projektiranje, i to
usred njegova kreativno najboljega razdoblja.
To me navelo da odnedavno ponem traiti
podatke o oevim projektima. Kako veinom
boravim izvan Bosne i Hercegovine, te sam
podatke uglavnom skupljao tokom mojih
povremenih dolazaka u Sarajevo. To bi bio
jednostavan zadatak da su sarajevski arhi-
vi lako dostupni i sreeni. Naalost, to nije
tako. Moda zbog rata, nasilja i strahota koje
su grad i ljudi u njemu nedavno pretrpjeli, a
moda i zbog sadanje besparice, stjee se
dojam nedovoljnoga entuzijazma za restau-
raciju dokumentacije o kulturnom nasljeu
grada. ini se da je jedan, zasad nepoznat,
dio te dokumentacije zametnut, izgubljen,
moda ak i nepovratno uniten. Tu uklju-
ujem i dobar dio oeve osobne dokumen-
tacije, koja je neobjanjivo nestala negdje
sedamdesetih godina.
Unato tekoama, uspio sam sakupiti naj-
vanije podatke o oevim najznaajnijim
12
Introduction
Reuf Kadi was not an ordinary architect. He
was an important promoter of avant-garde
ideas and is regarded as one of the authors
of early modern architecture in Bosnia and
Herzegovina.
Reuf Kadi was my father. Ever since his unex-
pected passing in 1974, I have regretted that I
did not, when it was still possible, learn more
from him about his work and about why he so
suddenly decided to stop practising architec-
ture in the midst of his creative prime.
This recently prompted me to start looking for
more information about my fathers projects.
As I spend most of my time outside Bosnia and
Herzegovina, I was searching for that informa-
tion primarily during my occasional visits to
Sarajevo. That would have been a simple task
if archives in Sarajevo were easily accessible
and well organized. Unfortunately, this is not
so. Possibly because of the war, violence and
atrocities so recently endured by the city and
its citizens, and possibly because of the current
financial limitations, there is an apparent lack
of enthusiasm for the restoration of documen-
tation about the citys cultural heritage. It ap-
pears that an unknown quantity of such docu-
ments may have been misplaced, lost, or even
destroyed. This includes my fathers personal
documentation which unaccountably disap-
peared in the 1970s.
radovima i predstaviti ih ovdje, i to prven-
stveno zato da ostanu buduim generacijama
u naoj porodici, a uz to i za korist drugima
koje bi ovo moglo zanimati. Prirodno je da
svaki tekst koji je pisao sin o njegovu ocu sa-
dri i neka subjektivna miljenja pa to treba
imati u vidu pri itanju ove knjige. Takoer,
kako nisam kolovani arhitekt, pisanje detalj-
nije strune analize rada moga oca preputam
strunjacima arhitektima. Po mom skromnom
miljenju, razdoblje Moderne (arhitekture) u
Bosni i Hercegovini imalo je kljuno znaenje
za kasniji znaajan procvat arhitektonske kre-
ativnosti na naim prostorima. Taj je procvat
bio donekle usporen, nasreu kratkotrajnim,
diktatom arhitektonskoga socrealizma karak-
teristinoga za drutveno-politiku situaciju
oko 1950. godine.
Sarajevske graevine, godinama zaputane
u razdoblju od 1941. do 1991, su pretrpjele
velika oteenja u nedavnom ratu. 1995. go-
dinu i kraj rata veina najvrjednijih objekata
Moderne, kao i graevine iz drugih vremen-
skih perioda, doekale su u vrlo loem stanju.
Naalost, sadanje pomanjkanje novca i jo
uvijek dijelom nerijeena pitanja vlasnitva
usporavaju potrebni tempo obnove graevi-
na. To je ozbiljan problem koji treba hitno ri-
jeiti. Neke od fotografija zgrada u ovoj knjizi,
napravljene u zadnje dvije godine, najbolje
ilustriraju ovaj problem.
In spite of the difficulties, I have been able to col-
lect considerable important information about my
fathers most significant projects and present them
here, primarily to leave them behind for future
generations of our family, and then for the benefit
of others who may have an interest in them. It is
natural that any text written by a son about his
father would include some subjective opinions,
and the reader of this book should keep this in
mind. Additionally, as I am not a trained architect,
I leave the writing of a more detailed professional
analysis of my fathers work to architectural ex-
perts. In my humble opinion, the Moderna period
of architecture in Bosnia and Herzegovina was of
essential importance for the subsequent blossom-
ing of contemporary architectural creativity in the
area. This blossoming was somewhat delayed by
the fortunately brief dictate of architectural soc-
realism that characterised the socio-political envi-
ronment around the year 1950.
Sarajevos buildings, already neglected during the
years 1941-1991, were severely damaged during
the last war. By 1995 the majority of the finest
examples of Moderna, as well as buildings from
other time periods, were in a very bad state. Unfor-
tunately, the current shortage of money and some
still unresolved property ownership issues have
slowed down the necessary building reconstruc-
tion programme. This is a serious problem requir-
ing prompt resolution. Some of the pictures in this
book, taken in the last two years, clearly illustrate
this problem.
13
 Poetci moderne
arhitekture u Bosni i
Hercegovini
Poetno razdoblje dvadesetoga stoljea ka-
rakterizirala su burna previranja i sukobi razli-
itih struja u zapadnoeuropskom arhitekton-
skom svijetu. Pojedine grupe zagovarale su
revolucionarni prekid s retrogradnim histo-
ricizmom i konzervatizmom, drugi su se tome
estoko opirali. Na kraju su prevladale ideje
moderne arhitekture. One donose nove funk-
cionalne koncepte i jednostavnost forme,
ali u isto vrijeme ne vide nikakav problem u
uklapanju u postojei urbani kontinuitet.
Tih godina u Sarajevo dolazi ili se sa studija
na Zapadu vraa nekoliko mladih arhitekata
koji nastoje te nove i moderne ideje primije-
niti i na naem tlu. Prvi objekt izgraen u stilu
Moderne je stambena zgrada porodice Dami
u Radievoj ulici u Sarajevu iz 1927. godine.
14
Projektirali su je Duan Smiljani i Helen Bal-
dasara. Slijedili su drugi projekti Smiljania,
Mate Baylona, Ise Reissa, Leona Kabilja, Jahi-
ela Fincija, Emanuela amaneka, Pavlina, Mo-
ravca i drugih. U ovom radu znaajna je pa-
nja posveena projektima Moderne koje su
uradili braa Kadi, u poetku Reuf, a kasnije
i Muhamed.
Braa Kadi su imali sreu da su studirali u
Pragu ba u vrijeme estokih prepirki o tome
kakva treba biti suvremena arhitektura i u
vrijeme kad je praka kola izrasla u jedan
od vodeih centara europske moderne arhi-
tekture. Nesumnjivo je da je takvo okruenje
uvelike pogodovalo njihovu naprednom raz-
miljanju o arhitekturi i formiralo njihov pri-
stup arhitekturi.
The Beginnings of Modern
Architecture in Bosnia and
Herzegovina
In the early part of the twentieth century, the
Western European architectural world was
characterised by turbulence and passionate
clashes of ideas. While some architectural
groups wanted a revolutionary break with ret-
rograde historicism and conservatism, others
spoke out enthusiastically against it. In the
end, the ideas of Moderna architecture pre-
vailed. These ideas embraced new concepts of
functionality and simplicity of forms, but at the
same time had no problem blending into the
existing urban continuum.
About this time, several young architects ei-
ther came to Sarajevo or returned after study-
ing in the West. They promoted new, modern
architectural ideas and applied them locally.
The first building built in Sarajevo in Moderna
style was Damis apartments on Radieva
Street, designed in 1927 by Duan Smiljani
and Helen Baldasara. Other buildings designed
by Smiljani, Mate Baylon. Iso Reiss, Leon Ka-
biljo, Jahiel Finci, Emanuel amanek, Pavlin,
Moravec, and others followed. In that work, sig-
nificant attention is given to Moderna projects
designed by the Kadi brothers, at first Reuf,
and later on also Muhamed.
The Kadi brothers were fortunate to be study-
ing in Prague just at the time when there were
those energetic exchanges of ideas about which
course contemporary architecture should take,
and at the time when the Prague School
emerged as one of the leading centres of Eu-
ropean modern architecture. There is no doubt
that such an environment greatly contributed
to the formation of their progressive thinking
and approach to architecture.
15
 Biografski
podatci
Reuf Kadi je roen u Sarajevu 25. travnja
(aprila) 1908. godine. Njegov otac, Ali-efendi-
ja Kadi, profesor orijentalnih jezika sa stru-
nim ispitom poloenim u Beu, dobar pozna-
valac istone i zapadne kulture, poznat pisac,
poliglot i prevodilac, u to je vrijeme predavao
na Velikoj gimnaziji u Sarajevu. Ali-efendija
je imao etvero djece, tri sina i kerku. Jo od
njihove rane mladosti, Ali-efendija je svoju
djecu pouavao o svijetu oko njih i u njima
nastojao probuditi kreativnu znatielju i e
za kulturom.
Nakon osnovne kole i etiri razreda gimna-
zije, Reuf Kadi se upisao na sarajevsku Sred-
nju tehniku kolu i s odlinim uspjehom je
zavrio 1926. godine, istovremeno sa starijim
bratom Muhamedom.
Skromne financijske mogunosti njihova oca
nisu mogle poduprijeti zajedniki nastavak
kolovanja obojici brae pa se te godine na
studij arhitekture u Pragu uputio samo Muha-
med. Reuf je ostao u Sarajevu jo jednu godi-
nu i radio kao predava na Srednjoj tehnikoj
koli.
1927. godine Reuf Kadi je poeo studirati
arhitekturu/visokogradnje na prakoj Visokoj
tehnikoj koli. Tokom studiranja je redovito
dolazio u Sarajevo i radio kako bi zaradio no-
16
Biographical
Data
Reuf Kadi was born in Sarajevo on April 25,
1908. His father, Ali-efendi Kadi, was a teacher
of oriental languages with a diploma obtained
in Vienna. Well versed in both eastern and
western cultures, he was an accomplished writ-
er, polyglot and translator, who was at the time
teaching at the High Gymnasium (academic
secondary school) in Sarajevo. Ali-efendi had
four children, three sons and a daughter. From
their early days, he taught his children about
the world around them, and tried to inspire in
them a creative curiosity and a thirst for culture.
After finishing elementary school and four
years of junior gymnasium, Reuf Kadi enrolled
in the Technical Middle School in Sarajevo. He
graduated with excellent grades in 1926, the
same year as his older brother Muhamed.
As their fathers modest financial resources
could not support further education for both
brothers, that year only Muhamed went to
Prague in Czechoslovakia to study architecture.
Reuf remained in Sarajevo for another year and
worked as a lecturer at his former school.
In 1927, Reuf Kadi began his architectural
studies at the Technical High School in Prague.
During his studies, he regularly returned home
to Sarajevo to work and earn the money needed
for the continuation of his studies. In 1930, be-
vac potreban za nastavak studija. 1930. godi-
ne su mu jugoslavenske vlasti, zbog njegovih
veza s liberalnim studentskim pokretom u
Pragu, oduzele paso. Morao je prekinuti stu-
dij i gotovo dvije godine stalno raditi u Saraje-
vu. Po povratku pasoa krajem 1931. godine,
vratio se u Prag, nastavio studij i diplomirao
s vrlo dobrim uspjehom u lipnju (junu) 1934.
godine. Bio je prvi musliman s podruja ne-
kadanje Jugoslavije s univerzitetskom diplo-
mom iz arhitekture.
Po zavretku obavezne vojne slube Reuf Ka-
di je u studenom (novembru) 1935. godine
poeo raditi u Vakufskoj direkciji u Sarajevu
na mjestu voditelja Tehnikog ureda i glavnog
arhitekta. Na tom je poslu ostao do kolovoza
(augusta) 1942. godine i u tom je razdoblju
za Vakuf projektirao i realizirao preko pedeset
projekata.
U meuvremenu se i brat Muhamed vratio
u Sarajevo i 1936. godine zaposlio u projek-
tnom uredu njihova nekadanjeg profesora,
arhitekta Duana Smiljania. Braa su otad
povremeno suraivala na projektima i arhi-
tektonskim natjeajima. Muhamed je diplomi-
rao u Pragu 1939. godine pa su 1940. godine
braa otvorila njihov zajedniki arhitektonski
ured, koji je zbog rata uskoro prestao raditi.
U kolovozu (augustu) 1942. godine, nakon to
je dva puta hapen kao taoc njemake vojske,
Reuf Kadi je morao napustiti Sarajevo. Odlazi
u Varadin gdje do kraja rata radi u graevin-
skoj operativi.
Po zavretku se rata vraa u Sarajevo. Prvi
zadatak bila mu je obnova prometnica i mo-
cause of his involvement with the liberal stu-
dent movement in Prague, his passport was re-
voked by Yugoslav authorities. He was forced to
interrupt his studies for two years and to work
full-time in Sarajevo. After his passport was
returned in November 1931, he went back to
Prague, continued his studies and graduated
with very good marks in June of 1934. He was
the first Muslim in the former Yugoslavia to ob-
tain a university degree in architecture.
In November 1935, after finishing his compul-
sory army service, Reuf Kadi started working
for the Vakuf (Vakf, Waqf) Directorate in Saraje-
vo as their Technical Office manager and head
architect. He remained in this job until August
1942, and during that period realized more
than fifty of Vakufs projects.
In the meantime, his brother Muhamed also re-
turned to Sarajevo, and in 1936 started working
in the architectural firm of their former teacher
Duan Smiljani. The brothers occasionally
worked together on projects and jointly par-
ticipated in several architectural competitions.
Muhamed graduated in Prague in 1939, and
in 1940 the brothers opened their joint archi-
tectural office, which soon was forced to close
down because of the war.
In August of 1942, after he had twice been de-
tained and held hostage by German authorities,
Reuf Kadi had to leave Sarajevo. He moved to
the city of Varadin in Croatia, where he worked
in construction until the end of war.
The war now over, he returned to Sarajevo,
where his first assignment was the recon-
struction of roads and bridges in the region of
17
 stova na podruju Jablanice. Poslije je radio
kao arhitekt u republikom Ministarstvu gra-
evina, a potom je bio ef jednoga projektnog
odjela u Zemaljskom projektnom zavodu i,
krae vrijeme, direktor graevinskoga podu-
zea Graditelj.
1950. godine Reuf Kadi je, iz dosada nedo-
voljno objanjenih razloga, iznenadno odlu-
io prekinuti svoje dotad vrlo plodno i uspje-
no bavljenje arhitektonskim projektiranjem.
Prihvatio je mjesto direktora u Graevinskoj
srednjoj tehnikoj koli u Sarajevu. Nakon
toga je radio na nekoliko rukovodeih polo-
aja u graevinarstvu i strunom obrazovanju.
U mirovinu je otiao u srpnju (julu) 1967. go-
dine, ali je i dalje ostao u struci radei na re-
viziji arhitektonskih projekata i projektiranju
nekoliko manjih kua. Umro je iznenada u i-
beniku 6. srpnja (jula) 1974. godine.
18
Jablanica. After that, he worked as an architect
in the state Ministry of Construction, then he
led an architectural design section at the In-
stitute for Design and, for a short time, he was
managing director of the construction compa-
ny Graditelj.
In 1950, Reuf Kadi, for yet unexplained rea-
sons, suddenly decided to stop his very produc-
tive and successful career in architectural de-
sign and accepted the position of principal in
the Technical Middle School in Sarajevo. Subse-
quent to this, he worked in several senior posi-
tions in project and construction management,
and in professional education.
He retired in 1967, but still remained ac-
tive in his profession, reviewing architectural
projects and designing a few smaller houses.
He died suddenly on July 6, 1974, in the town
of ibenik, Croatia.
Maturanti Srednje tehnike kole u Sarajevu, kolska godina 1925.-1926., s profesorima Smiljaniem i Baldasarom
Graduates from the Technical Middle School in Sarajevo, class of 1926, with their teachers Smiljani and Baldasara

19
 Studentski indeks s Visoke tehnike kole u Pragu
Student index from the Technical High School in Prague

Reuf Kadi s bratom Muhamedom tokom njihova

studija u Pragu
Reuf Kadi with his brother Muhamed during their
studies in Prague

20
S kolegama studentima u Pragu 1929. godine
With fellow students in Prague in 1929

21
U vrijeme honorarnog rada u poduzeu Rad u Sarajevu Malo prije diplomiranja u Pragu 1934. godine
During his temporary work for the Rad company in Sarajevo Shortly before graduation in Prague in 1934

22
Diploma Visoke tehnike kole u Pragu
Diploma from the Technical High School in Prague

23
U Sarajevu oko 1938.
In Sarajevo around 1938

S bratom Muhamedom u Sarajevu

With his brother Muhamed in Sarajevo

24
U uredu Vakufske direkcije u Sarajevu
In the office of Vakuf Directorate in Sarajevo

Sa suprugom Hametom kasnih 1930-ih godina

With his wife Hameta in the late 1930s

25
S maturantima Graevinske srednje tehnike
kole u Sarajevu 1958.
With graduates of the Technical Middle School in
Sarajevo in 1958

Reuf Kadi oko 1960.

Reuf Kadi around 1960

S nastavnicima Graevinske srednje tehnike

kole u Sarajevu 1960.
With teachers of theTechnical Middle School in
Sarajevo in 1960

26
Kronologija
rada i
projekata
1. RAZDOBLJE 1926.-1934.
Po zavretku kolovanja na sarajevskoj Sred-
njoj tehnikoj koli, Reuf Kadi je cijelu kol-
sku godinu 1926/27. radio na toj koli kao
predava. U jesen se 1927. godine, upisao na
studij arhitekture na Visokoj tehnikoj koli u
Pragu.
Tokom studija je povremeno dolazio u Sara-
jevo i radio u graevinskom poduzeu Rad
te do 1934. godine nakupio vie od tri godi-
ne takvoga rada. Radio je na razliitim gradi-
litima i sudjelovao u projektiranju gradske
bolnice u Brkom, opinskih ureda, stanova i
zgrade carinarnice u Metkoviu, zgrade Deutz
i Benau i kue Radulovi u Sarajevu, armirano-
betonskih mostova u Bihau, Tuzli i Mostaru.
Takoer je sudjelovao u natjeaju za projekt
Palae Burze u Beogradu.
2. RAZDOBLJE 1935.-1941.
Kao mladi arhitekt, koji se upravo vratio u
svoj rodni grad, pun entuzijazma i novih ide-
ja, Reuf Kadi je bio sretan i odmah je naao
poslodavca s velikim razvojnim planovima i
gotovo neogranienim opsegom rada. To mu
Work and
Project
Chronology
1. PERIOD 1926-1934
Following his graduation from the Technical Mid-
dle School in Sarajevo, Reuf Kadi remained at
the school as a lecturer for the whole 1926/27
school year. Then, in the fall of 1927, he enrolled
in architectural studies in Prague, Czechoslovakia.
While studying, he periodically returned to
Sarajevo and worked for the construction com-
pany Rad. By 1934 he had accumulated more
than three years of employment. He worked on
a number of construction projects and partici-
pated in the design of the city hospital in Brko,
municipal offices, apartments and customs
buildings in Metkovi, the Deutz and Benau
Building and the Radulovi house in Sarajevo,
and reinforced concrete bridges in Biha, Tuzla
and Mostar. He also participated in the archi-
tectural competition for the design of the Ex-
change Building in Belgrade.
2. PERIOD 1935-1941
As a young architect, who had just returned to
his home town full of enthusiasm and fresh
ideas, Reuf Kadi was fortunate enough to im-
mediately find an employer with big develop-
27
 je dalo priliku da pone upotrebljavati svoje
novonaueno znanje i brzo stekne potrebno
iskustvo u primijenjenoj arhitekturi. U svom
je radu Reuf Kadi dosljedno primjenjivao
svoje shvatanje principa evropske moderne
arhitekture, u isto vrijeme potujui tradici-
onalne domae arhitektonske i urbanistike
vrijednosti. Njegov je prilog prodoru Moder-
ne na nae prostore, pogotovo zbog tako ve-
likoga broja realiziranih projekata, izvanredno
znaajan.
2.1. RAD U VAKUFSKOJ DIREKCIJI
Reuf Kadi je u nepunih sedam godina rada
u Vakufskoj direkciji projektirao i realizirao
oko pedeset vakufskih objekata irom Bosne i
Hercegovine, najvie u Sarajevu. Vakufska di-
rekcija je u to vrijeme bila jedan od najznaaj-
nijih graditelja i investitora u svjetovne i vjer-
ske objekte. Ti projekti su ukljuivali zavidan
broj vanih stambenih, poslovnih i instituci-
onalnih zgrada. Najvei broj objekata izgra-
enih za vjerske namjene bile su podrune
damije i mektebi (kole za osnovno vjersko
obrazovanje).
Njegov prvi veliki institucionalni projekt u Sa-
rajevu, zavren 1938. godine, bio je Sirotite
Podhrastovi, sadanja Bolnica za plune bole-
sti. Arhitektonska je vrijednost ovoga objekta
umanjena poslijeratnim dogradnjama. Otpri-
like u isto vrijeme izgraena je i stambena
zgrada Penzionoga fonda slubenika Islamske
vjerske zajednice u ulici Mula Mustafe Bae-
skije. 1939. godine su zavreni aki dom/
internat drutva Hurijet na vrhu Pehlivanua
ulice, sadanja osnovna kola i jo jedan pro-
jekt koji je u arhitektonskom smislu praktino
28
ment plans and an almost unlimited amount of
work. This provided him with an opportunity to
practise his newly acquired knowledge and to
quickly obtain the necessary hands-on experi-
ence in applied architecture. In his architectural
work, Reuf Kadi consistently followed his un-
derstanding of the principles of European mod-
ern architecture, at the same time respecting
the domestic architectural and land-use tradi-
tions. His contribution to the establishment of
Moderna in Bosnia and Herzegovina is very sig-
nificant, even more so because of such a large
number of realized projects.
2.1. WORK AT THE VAKUF (WAQF)
DIRECTORATE
In less than seven years of work at the Vakuf Di-
rectorate, Reuf Kadi designed and completed
about fifty Vakuf projects throughout Bosnia
and Herzegovina, a major portion of them in
Sarajevo. At that time, the Vakuf Directorate was
one of the most significant investors and build-
ers of both secular and religious buildings. The
projects included an impressive number of im-
portant residential, commercial and secular in-
stitutional buildings. Most of the projects built
for religious purposes were community mosques
and maktabs (elementary Islamic schools).
The first large institutional project in Sarajevo,
completed in 1938, was Podhrastovi Orphan-
age, currently the Hospital for Lung Diseases.
The architectural value of this building was
diminished by post-WWII additions. About the
same time, a residential building on Mula-Mus-
tafa Baeskija Street, commissioned by the IVZ
Retirement Fund, was also completed. In 1939
followed the Hurijet student residence at the
Sirotite Podhrastovi u gradnji 1937. godine Sirotite Podhrastovi, poslijeratna dogradnja
Podhrastovi Orphanage during construction in 1937 Podhrastovi Orphanage, post-war additions

Sirotite Podhrastovi, sada Klinika za

plune bolesti, snimci iz 2006.
Podhrastovi Orphanage, now Hospital
for Lung Diseases, photos from 2006

29
 Stambena zgrada Penzionog fonda IVZ, Stambena zgrada Penzionog fonda IVZ, ulica Miss Irby
ulica M.M. Baeskije IVZ Retirement Fund building, Miss Irby Street
IVZ Retirement Fund building,
M.M. Baeskija Street

aki dom Hurijet, izgraen 1939.;

sadanji izgled
Hurijet student residence, built in
1939; current view

30
aki dom Hurijet, glavno proelje prema izvornom projektu Mekteb na Pehlivanui, izgraen 1939., potpuno devastiran
Hurijet student residence, front view according to original design u nedavnom ratu
Maktab on Pehlivanua Street, built in 1939,
devastated in the recent war

aki dom Hurijet. Dogradnje su potpuno izmijenile prvobitni Mekteb na Pehlivanui, sada obnovljen kao socijalna ustanova
izgled zgrade Maktab on Pehlivanua Street, now rebuilt as a social services centre
Hurijet student residence. Additions completely changed its
original appearance

31
 uniten kasnijim preureenjima. Te je godine
izgraena i jo jedna stambena zgrada Penzi-
onoga fonda slubenika IVZ, ova u Miss Irby
ulici, a onda i vrlo znaajna stambeno-poslov-
na zgrada Vakufa okadi hadi Sulejmana na
Trgu Republike Austrije. 1939. godine projek-
tiran je i jedan malen ali interesantan vjerski
objekt, mekteb preko puta akoga doma
Hurijet, zgrada istih formi u tipinom stilu
Moderne koja je izvrsno komplementirala
akom domu. Taj je objekt potpuno devasti-
ran u nedavnom ratu. Izvedbeni projekt avan-
gardne stambeno-poslovne zgrade Vakufa
Hovada Kemaludina (Mekteb) na uglu dana-
njih ulica Ferhadije i emalue dovren je u
lipnju (junu) 1939. godine, a njeno graenje
poetkom 1940. godine. 1939. je zapoet i
projekt stambeno-poslovnog kompleksa i ne-
bodera Vakufa Kovada Kemaludina u Ferha-
dija ulici. Gradnja je tog objekta poela 1940.
godine. Taj projekt ima zanimljivu povijest
(vidi poseban osvrt). 1940. godine uraeni su
i vakufska stambena zgrada u Muvekita ulici
te rekonstrukcija zgrade Vakufske direkcije u
ulici Zelenih beretki. Od objekata je za vjer-
ske namjene vrijedno jo spomenuti damiju
i mekteb u Hrasnu.
Izvan Sarajeva, u Bugojnu, amcu, Trnovu, aj-
niu i drugdje, vakufski su projekti uglavnom
bili za vjerske namjene.
2.2. DRUGI PREDRATNI PROJEKTI
Uz rad u Vakufu, Reuf Kadi je uradio i broj-
ne druge projekte, neke samostalno, a neke
u suradnji s bratom Muhamedom. Suradnja je
s Muhamedom uestala nakon Muhamedo-
va diplomiranja i povratka sa studija u lipnju
32
top of Pehlivanua Street, another project ar-
chitecturally devalued by subsequent changes
and currently an elementary school. The same
year, one more residential building was con-
structed for the IVZ Retirement Fund, this one
on Miss Irby Street. After that came the very im-
portant residential/commercial Vakuf okadi
hadi Sulejman Building on Republic of Austria
Square. In 1939, a small but interesting build-
ing was also designed, a maktab across from the
Hurijet student residence. This tiny building in
typical Moderna style complemented the Hurijet
complex exceptionally well. This structure was
completely devastated in the recent war. The de-
sign of the avant-garde residential/commercial
Vakuf Hovada Kemaludin (Mekteb) Building at
the corner of Ferhadija and emalua Streets
was completed in June 1939, and its construc-
tion finished in early 1940. In 1939, design
work was also started on the Vakuf Hovada
Kemaludin residential and office building and
skyscraper on Ferhadija Street; its construction
began in 1940. This project has an interesting
history (see later). Projects carried out in 1940
also included a residential building on Muvekita
Street and the reconstruction of the Vakuf Direc-
torate Building on Zelenih beretki Street. Of the
religious buildings, the mosque and maktab in
Hrasno are also worth mentioning.
Outside Sarajevo, in Bugojno, amac, Trnovo,
ajnie, etc., the Vakuf projects were mainly re-
ligious buildings.
2.2. OTHER PRE-WWII PROJECTS
Along with his work for Vakuf, Reuf Kadic car-
ried out numerous other projects, some of them
alone and some in cooperation with his brother
(junu) 1939. godine. Naalost, izgleda da ne
postoje nesporni podatci o tome koji su sve
projekti raeni u koautorstvu te, to je u biti
manje vano, o tome koliki je bio pojedinani
udio brae u projektima koji se navode kao
zajedniki.
Reufovi projekti ukljuuju kuu Kajtaz u ulici
Hamdije Kreevljakovia, privatne stambene
zgrade u Prijepoljevoj ulici i Keinoj ulici,
obiteljsku kuu u Hadi Idrizovoj ulici, i resta-
uraciju i nadogradnju hotela Zagreb.
Kao zajedniki rad navode se dvije manje
stambene zgrade, zgrada uri u emerli-
ni i zgrada Kapetanovi u Logavina ulici. Na
arhitektonskom natjeaju za projekt stam-
bene zgrade Ibn Pajko u Skoplju dobili su
treu nagradu. Takoer su, nakon jo jednog
uspjenog natjeaja, izradili idejni projekt za
poslovno-stambenu zgradu Zadruge Spas u
Sarajevu. Izvedbeni je projekt te zgrade radio
inenjer Pavlin. Negdje se navodi i koautor-
stvo u prvo-nagraenom natjeajnom rjee-
nju za veliki stambeno-poslovni blok Talihan
u Sarajevu, koji nije realiziran zbog rata, ali je
to malo vjerojatno jer je taj projekt bio vakuf-
ski, a Reuf je jo bio zaposlen u Vakufu.
Poetkom 1940. godine Reuf Kadi je pozvao
Muhameda da mu se pridrui kao partner u
njegovu neto ranije osnovanom projektnom
uredu i slubeno preknjiio ured pod imenom
Braa Kadi.
1939. i 1940. godine projektirana su dva
objekta od izuzetne vrijednosti: obiteljska
kua Kopi u ulici Safvet-bega Baagia i zgra-
da Mirovinskoga zavoda na uglu ulica Marala
Muhamed. Cooperation with Muhamed became
more frequent after his graduation and return
from studies in June of 1939. Unfortunately,
it appears that there are no indisputable data
about which projects were done jointly and, less
importantly, about the extent of each brothers
contribution in these joint projects.
Reufs projects include: the Kajtaz House on
Hamdija Kreevljakovi Street, private apart-
ment buildings on Prijepoljeva Street and
Keina Street, a family house on Hadi Idriz
Street, and the restoration and reconstruction
of Hotel Zagreb.
Considered as joint work are two smaller apart-
ment buildings, the uri House on emerlina
Street and the Kapetanovi House on Logavina.
The brothers won the third place award at an
architectural competition for design of the Ibn
Pajko apartment block in Skopje, Macedonia.
After another successful competition, they com-
pleted the preliminary design for the Spas Co-
operative Building in Sarajevo (detailed design
by Eng. Pavlin). Some sources also list as joint a
competition-winning design for the large com-
mercial and residential Talihan Block in Sara-
jevo, which was never built due to WWII. This,
however, is unlikely the work of both brothers
because the project was Vakufs and Reuf was
at that time still working for Vakuf.
At the beginning of 1940, Reuf invited Mu-
hamed to join him as a partner in his previously
opened architectural firm, and had the office re-
registered under the name Brothers Kadi.
Two projects of exceptional value were realized
in 1939 and 1940: the Kopi family house on
33
Stambena zgrada uri
The uri House

Stambena zgrada Kapetanovi

The Kapetanovi House

34
Tita i Hamze Hume. Ti projekti spadaju u anto-
logijske primjerke predratne Moderne u Bosni i
Hercegovini. Iz tog vremena su i projekti Doma
Mehmed-pae Sokolovia u Viegradu, trgo-
vake zgrade Saletovi u Vareu i dviju stam-
benih zgrada u Sarajevu, jedne u ulici Hamdije
Kreevljakovia, a druge na Marindvoru.
3. RAZDOBLJE RATA 1941.-1945.
Dolazak rata uzrokovao je gotovo trenutni
prekid rada na novim projektima i probleme s
novim vlastima. Braa Kadi su ve ranije obi-
ljeeni kao liberalno orijentirani intelektualci
i zbog toga su u relativno malom Sarajevu bili
previe uoljivi. Obadvojica su dva puta hap-
eni kao taoci njemake vojske te im je suge-
rirano da odu iz grada. Muhamed je to uradio
u oujku (martu), a Reuf u kolovozu (augustu)
1942. godine.
Reuf je otiao u Varadin i zaposlio se u gra-
evinskom poduzeu Zubi. Do kraja rata je
uglavnom radio na izvoenju gradnji, ali je
projektirao i jednu znaajnu zgradu, obitelj-
sku kuu Zubi na Mirogojskoj cesti u Zagre-
bu, izgraenu u tipinom stilu Moderne.
4. PORAE 1945.-1950.
Neposredno nakon rata Reuf Kadi je preao
na rad u Ministarstvo graevina Republike
Hrvatske, a potom se ponudio za dobrovolj-
ni rad u Bosni i Hercegovini, kamo se vratio u
srpnju (julu) 1945. godine. Prvi mu je zadatak
bio voenje obnove prometnica na podruju
Jablanice, a najznaajniji projekt armiranobe-
tonski most preko rijeke Doljanke, koji je iz-
graen u rekordnom roku. Nakon toga je radio
Safvet-beg Baagi Street and the Retirement
Foundation Building at the corner of Maral
Tito and Hamza Humo Streets. These build-
ings are anthological examples of pre-war
Moderna in Bosnia and Herzegovina. Mehmed-
paa Sokolovi Dom (Centre) in Viegrad, the
Saletovi Mercantile Building in Vare, and two
residential buildings in Sarajevo, one on Ham-
dija Kreevljakovi Street, the other on Marin-
dvor, are also from this period.
3. WAR PERIOD 1941-1945
The arrival of war caused almost immediate
cessation of work on new projects as well as
problems with the new administration. The
Kadi brothers had earlier been labelled as lib-
erally-oriented intellectuals and consequently
became too exposed in the relatively small
Sarajevo of that time. Both of them were de-
tained twice as hostages of the German Army,
and it was suggested that they leave town. Mu-
hamed did this in March and Reuf in August of
1942.
Reuf moved to Varadin in Croatia and worked
for the Zubi Construction Company. During
the remainder of the war, he mainly worked in
construction, but also designed one noteworthy
building, the Zubi House on Mirogojska Cesta
in Zagreb, which was built in typical Moderna
style.
4. POST-WAR PERIOD 1945-1950
Immediately after the war, Reuf Kadi started
working in the Ministry of Construction of the
Republic of Croatia, then volunteered to work
in Bosnia and Herzegovina and returned there
35
 Obiteljska kua Zubi u Zagrebu
The Zubi House in Zagreb, Croatia

36
Most preko rijeke Doljanke
u Jablanici
Bridge over the Doljanka
River in Jablanica

37
 na arhitektonskom projektiranju u Ministar-
stvu graevina Republike Bosne i Hercegovi-
ne u Sarajevu.
U svibnju (maju) 1946, po osnivanju Zemalj-
skoga projektantskog zavoda u Sarajevu, po-
stavljen je za efa jednoga od arhitektonskih
odjela i na tom je poslu ostao do rujna (sep-
tembra) 1950. godine. U meuvremenu je jed-
no vrijeme, usporedo s radom u Zavodu, bio i
direktor graevinskoga poduzea Graditelj.
Po dolasku je u Zavod obnovio zajedniki rad
s bratom Muhamedom, koji je tamo takoer
radio, a kasnije postao i direktor. U sljedee tri
godine braa su uradila znaajan broj zajed-
nikih projekata. U Sarajevu su 1947. godine
realizirali novi izniman arhitektonsko-urbani-
stiki projekt, stambeno naselje/koloniju na-
zvanu Didikovac, jo jedan od antologijskih
primjeraka bosanskohercegovake Moderne.
1948. godine su realizirali kompleks od etiri
stambena bloka u ulici Branilaca Sarajeva, na-
alost sad ve ozbiljno ogranieni novim pro-
pisima o maksimalnoj racionalizaciji u veliini
prostorija i upotrebi arhitektonskih elemena-
ta, uzrokovanih sve veim doseljavanjem u
grad i pomankanjem stambenoga prostora i
novanih mogunosti.
Drugi projekti iz ovoga perioda u Sarajevu su
zgrada Vijea sindikata na Obali, adaptacija
hotela Europa i natjeaj za projekt kliniko-
ga bloka u gradskoj bolnici (druga nagrada).
Projekti izvan Sarajeva su stambene zgrade u
Foi, tipska zgrada s etiri stana, upotrebljena
38
in July of 1945. His first assignment was to
lead the reconstruction of roads and railways in
the area of Jablanica and the most significant
project was a reinforced concrete bridge over
the Doljanka River, which was constructed in
then record-setting time. After that, he worked
as an architect in the Ministry of Construction
of the Republic of Bosnia and Herzegovina in
Sarajevo.
In May of 1946, after the state Institute for De-
sign was formed, he was appointed to lead an
architectural section, and stayed in that posi-
tion until September 1950. In the meantime,
for a short while he was also the managing di-
rector of the construction company Graditelj.
Once he had started work at the Institute for De-
sign, Reuf Kadi renewed his teamwork with his
brother Muhamed, who also worked at the Insti-
tute and later became the Institutes managing
director. Over the next three years, the broth-
ers carried out a significant number of joint
projects. In Sarajevo in 1947, they realized an
exceptional new architectural and land-use un-
dertaking, a residential development/colony
called Didikovac, another Moderna project of
anthological value.
In 1948 they designed a complex of four resi-
dential blocs in Branilaca Sarajeva Street. This
design was, unfortunately, seriously restricted
by new regulations requiring maximal efficien-
cy in use of space and utilization of architectur-
al elements, brought about by the continuously
growing influx of new citizens, and a shortage
of living space and money.
Stambeni blokovi u ulici Branilaca Sarajeva
Residential blocks on Branilaca Sarajeva Street

39
Zgrada Vijea sindikata u Sarajevu
Unions Council Building in Sarajevo

40
 Stambeni blok u ulici Branilaca Sarajeva
Residential block on Branilaca Sarajeva Street

Dom kulture u Mostaru

Cultural Centre in Mostar

41
 za izgradnju radnikih naselja prvo u Banovi-
ima a onda i u Ilijau i drugim mjestima, te
gospodarski objekti na Kupresu i u Prnjavoru.
U ovom je razdoblju posljednji, samostalno
uraen projekt Reufa Kadia bio Dom kulture
u Mostaru. Rjeenje ovoga objekta ukljuilo je
neke elemente koji su odraavali tada domi-
nirajuu naklonost socrealistikoj arhitekturi.
To je na neki nain, bar izvana, oznailo ra-
stanak Reufa Kadia s njegovim dotadanjim
ivotnim uvjerenjem arhitekta Moderne. Vrlo
je vjerojatno da je ova nametnuta promjena
bila zadnji u nizu dogaaja koji su doveli do
njegove odluke da ubrzo nakon toga napusti
arhitektonsko projektiranje.
5. RAZDOBLJE 1950.-1974.
Krajem ljeta 1950. godine Reuf Kadi je od-
luio prestati raditi u Zemaljskom projek-
tantskom zavodu. Preao je u sarajevsku Gra-
evinsku srednju tehniku kolu na mjesto
direktora i predavaa za predmet Graevin-
ske konstrukcije. Bila je to radikalna promje-
na. Vrlo akivan i uspjean projektant i prak-
tiar takorei je preko noi postao odgojitelj
novih strunjaka. I u novom radu je bio vrlo
uspjean. Godinama sam s ponosom sluao
pohvale njegovih bivih uenika. Pa ipak, ko-
liko god je tom promjenom dobilo tehniko
obrazovanje, toliko je izgubila kreativna arhi-
tektura u Bosni i Hecegovini.
Moe se samo nagaati o tome to ga je nave-
lo na takvu odluku. Malo je vjerojatno da je to
bila zasienost projektantskim radom ili da ga
je napustila njegova kreativna muza. Sa svoje
42
Other Sarajevo projects from this period are:
the Unions Council Building, renovation of
Hotel Europa, and competition design for a
new clinical wing in the city hospital (second
prize). Outside Sarajevo, the projects included:
residential buildings in Foa, the design of a
standardized 4-unit house used for worker resi-
dences in Banovii, Ilija and other towns, and
agricultural buildings in Kupres and Prnjavor.
In this period, the last individually designed
Reuf Kadi project was the Dom Kulture (Cul-
tural Centre) in Mostar. The design of this build-
ing included some elements which reflected the
then dominant preference for socio-realistic ar-
chitecture. In some way, at least on the outside,
that project marked Reuf Kadis parting with
his life-long convictions as a Moderna archi-
tect. It is quite possible that this forced change
was the last in a series of events that led to his
decision, soon after that, to stop designing.
5. PERIOD 1950-1974
At the end of the summer of 1950, Reuf Kadi
decided to resign from the Institute for Design.
He moved to the Technical Middle School in
Sarajevo to become the schools principal and
lecturer on the subject of building structures.
This was a radical change -- a very active and
successful architect and practitioner who over-
night became an educator of future profes-
sionals. Yet he was very successful in his new
work. For many years, I had the proud privilege
of hearing tributes from his former students.
Nevertheless, as much as this change benefited
architectural education, it resulted in at least as
big a loss to creative architecture in Bosnia and
Herzegovina.
42 godine bio je jo uvijek relativno mlad i
na vrhuncu svojih kreativnih mogunosti. Vie
je vjerojatno da su ga na to navele tadanje
drutvene prilike, kombinacija nametnutih
projektnih ogranienja te besparica. Kad sam
nedavno o tome razgovarao s poznatim arhi-
tektom i akademikom Zlatkom Ugljenom, koji
je na poetku karijere jedno vrijeme radio s
mojim ocem, on mi je rekao: Znate, imao sam
utisak da Reufa sve to vie nije interesiralo.
Vjerojatno je Reufu Kadiu ve bilo dosta i
borbe s vjetrenjaama i ikaniranja od stra-
ne jednoga, istina malog dijela onih koji su
tada unato njihovu mediokritetstvu odlui-
vali o ljudskim sudbinama pa i o njegovoj.
Uz dva prekida, osamnaest mjeseci rada na
izgradnji eljezare Ilija te oko dvije godine u
republikoj Nadzornoj slubi za investicionu
izgradnju, Reuf Kadi je ostao u obrazovanju
sve do 1963. godine. Nije se bavio projekti-
ranjem, osim to je krajem pedesetih godina
dobio nagradu i otkupljena su mu idejna rje-
enja na republikom natjeaju za projekte
stambenih tornjeva/solitera.
1958. godine ponueno mu je da prijee na
rad u Zagreb na mjesto tehnikoga direktora u
veoj graevinskoj organizaciji. Aranman je
trebao ukljuiti i poloaj gostujuega preda-
vaa na Arhitektonsko-graevinsko-geodet-
skom fakultetu Sveuilita u Zagrebu. Poslije
kraega razmiljanja i konzultacija s porodi-
com i prijateljima, odluio se ostati u Bosni i
Hercegovini. Gledajui iz sadanje perspekti-
ve, to je vjerojatno bila pogreka.
U ovom su razdoblju interesantni njegovi po-
gledi o tadanjim problemima u projektiranju
One can only speculate as to what prompted
this decision. It is unlikely that he was tired of
designing, or that his creative muse had left
him. At the age of 42, he was still relatively
young and in his creative prime. More probably,
the environment of the time, a combination of
externally imposed limitations on creativity and
lack of money, led to his resignation. Recently,
when we discussed this subject, the renowned
architect and academician Zlatko Ugljen, who
at the beginning of his career worked with my
father, said to me: You know, my impression
was that Reuf had lost interest in all that. It
is quite possible that Reuf Kadi also had had
enough of the battles with windmills and chi-
canery of some of those who at that time, in
spite of their mediocrity, were deciding peoples
destinies, including my fathers.
Except for a stint of a year and a half in the con-
struction of steel mills in Ilija and two years
in the state Inspectorate for Construction, Reuf
Kadi remained in technical education until
1963. During this time he did no designing,
aside from participating in an architectural
competition in the late 1950s. There he won an
award for the conceptual design of residential
high-rise buildings/towers.
In 1958, he was offered the opportunity to
move to Zagreb, Croatia, as the technical di-
rector of a large construction company. The
arrangement was to also include a position as
a visiting lecturer at the University of Zagrebs
Faculty of Architecture. After brief considera-
tion of this opportunity and consultation with
family members and friends, he decided to re-
main in Bosnia and Herzegovina. From todays
perspective, this was probably a mistake.
43
 Studija idejnog projekta stambenog tornja/
solitera
Conceptual design study for residential
high-rise building/tower

Nagraeni idejni projekt stambenog tornja/

solitera
Award-winning conceptual design of residential
high-rise building/tower

44
i graenju, kao i o mogunostima rjeenja tih
problema, koje je iznio poetkom 1962. go-
dine kao lan komisije za Savjetovanje o pro-
jektiranju, odranom u Sarajevu. Reuf Kadi
je tada predlagao nekoliko u to vrijeme vrlo
progresivnih i budunosti okrenutih rjeenja,
ukljuujui otvaranje tada nedoputenih pri-
vatnih projektantskih ureda. Takoer je pred-
loio komercijalizaciju i formiranje slobod-
noga trita projektnih i izvoakih usluga te
poticanje inovacije u proizvodnji materijala i
opreme.
Reuf Kadi je 1963. godine iz Graevinske
srednje tehnike kole preao u Energoinvest,
u Slubu za nadzor i investicije, a 1965. go-
dine postaje direktor za kapitalnu izgradnju
banjaluke Tvornice celuloze i viskoze.
Po umirovljenju 1967. godine pa sve do
iznenadne smrti 1974. godine, povremeno
se bavio arhitekturom, uglavnom na reviziji/
pregledu arhitektonskih projekata. Uradio je
i tri manja projekta, vikendicu obitelji Taso u
Faletiima kod Sarajeva, kuu obitelji Seen i
vlastitu kuu za odmor, obje na otoku Murteru
u Hrvatskoj. Takoer je pisao i gotovo zavrio
knjigu o graevinskim konstrukcijama koja,
naalost, nikad nije objavljena.
Also interesting in this period were his reflec-
tions on the contemporary problems in design
and construction, and on the possibilities for
their resolution, which he presented at the
beginning of 1962 in Sarajevo. He proposed
several very progressive and visionary actions,
including the formation of private design of-
fices, which were at that time banned. The pro-
posals also included the commercialization of,
and open market for, design and construction
services, and the stimulation of innovation in
the production of construction materials and
equipment.
In 1963, Reuf Kadi left the Technical Middle
School and moved to Energoinvest Corpora-
tions Directorate for Investment and Inspec-
tion. In 1965, he assumed the position of man-
aging director for Capital Assets Construction
at the Cellulose and Viscose conglomerate in
Banja Luka.
After retiring in 1967, until his sudden passing
in 1974, he occassionally engaged in profes-
sional work, mostly the review of architectural
projects. He designed three smaller houses, the
Taso family cottage in Faletii near Sarajevo,
the Seen house and his own house, both on the
island of Murter in Croatia. He also wrote and
nearly completed a book on building structures
which, unfortunately, was never published.
45
Vakuf okadi hadi Sulejmana, snimak iz 1939.
Vakuf okadi hadi Sulejman, photo from 1939

46
Najznaajniji
projekti
Od svojih najznaajnijih radova Reuf Kadi
je pet uradio u samo tri godine, od 1938. do
1940. Potom je 1947. godine, u svojoj tride-
set devetoj godini ivota, realizirao jo jedan
izvanredno vaan projekt i, ubrzo nakon toga,
prestao projektirati. Oito su Drugi svjetski
rat i situacija poslije rata najprije uzrokova-
li prekid, a onda i prerani zavretak njegova
kreativno najvrednijega razdoblja. Sad se
moe samo pretpostavljati koliko bi jo vri-
jednih projekata nastalo da su prilike bile
drugaije.
Most Significant
Projects
Of his most significant works, Reuf Kadi de-
signed five in the short span of three years from
1938 to 1940. He then designed another ex-
ceptional project in 1947, when he was only
thirty-nine years old. Shortly afterwards, he
stopped designing. It is obvious that the situ-
ation during WWII and its aftermath caused at
first an interruption and then the early cessa-
tion of his most creatively valuable period. It
can now only be hypothesised how many more
valuable works would have been created if cir-
cumstances had been different.
47
Vakuf okadi hadi Sulejmana, snimci iz 1970.-1985.
Vakuf okadi hadi Sulejman, photos from 1970.-1985

48
Vakuf okadi hadi Sulejmana
Projektiranje ove zgrade poelo je u jesen
1938. godine, a njena je gradnja zavrena
1939. Taj objekt, smjeten na poetku Bi-
strika na sadanjem Trgu Republike Austrije,
vjerojatno je jedan od najuspjenijih projeka-
ta uraenih u Sarajevu u stilu Moderne prije
Drugoga svjetskog rata.
Zgrada je vrlo skladnoga oblika i modularno
ujednaena. Dvije natprizemne etae imaju
velike ostakljene ugaone loe i to, u kombi-
naciji s uvuenim i u velikoj mjeri ostakljenim
prizemljem, stvara dojam lebdeega kubusa.
Izmeu ugaonih loa glavnoga proelja nizo-
vi su velikih prozora. Iznad glavnoga kubusa
zgrade je drugi, manji kubus treega kata i
krova ije kontinuirane linije eline ograde
dalje doprinose dojmu prozranosti cijeloga
objekta. Izvanredna uklopljenost svih eleme-
nata karakterizira ovaj izuzetni projekt. Osta-
kljene loe, primijenjene prvi put na ovom
objektu, postale su esto upotrebljavan ele-
ment u kasnijim projektima Reufa Kadia.
Vakuf okadi Hadi Sulejman
(Chokadji Hadji Suleyman)
The design of this building began in the fall
of 1938 and its construction was finished in
1939. Built at the foot of Bistrik district, on to-
days Republic of Austria Square, this structure
is probably one of the most successful Moderna
projects completed in Sarajevo before World
War II.
The building is very harmonious in form and
modularly well-balanced. The two upper floors
have large glassed-in corner loggias and this,
in combination with the recessed and predomi-
nantly glass-walled ground floor, creates an
impression of a levitating building cube. On
the main facade, between the corner loggias,
are continuous rows of large windows. Atop the
main cube is the second, smaller cube compris-
ing the top floor and the roof, highlighted by
lines of steel railing that add to the impression
of airiness. An excellent interrelation of all the
building elements characterises this exceptional
project. The glassed-in loggias, used for the first
time in this building, became a frequently-used
element in the subsequent works of Reuf Kadi.
49
 Vakuf Hovada Kemaludina (Mekteb),
snimak iz 2010.
Vakuf Hovada Kemaludin (Mekteb),
photo from 2010
50
Vakuf Hovada Kemaludina
(Mekteb)
O ovom se projektu Reufa Kadia malo pi-
salo, ali on bez sumnje spada meu njegove
najuspjelije avangardne radove. Projekt ove
relativno male zgrade, podignute na uglu uli-
ca Ferhadije i emalue, zavren je u lipnju
(junu) 1939. godine.
I ovdje su upotrijebljene ostakljene ugaone
loe te konzolno istaknuti dijelovi zgrade
iznad prizemlja. Ovaj drugi element (erker,
pomolak), koji je Reuf Kadi prvi put primi-
jenio na zgradi Penzionoga fonda slubenika
IVZ u ulici Mula Mustafe Baeskije, oito je
inspiriran elementom tradicionalne bosanske
kue i kasnije je esto upotrebljavan. Takoer
su upotrijebljeni i karakteristini nizovi veli-
kih prozora koji omoguavaju dobru prirodnu
osvijetljenost unutranjih prostora. Projek-
tant je ekonomino i majstorski iskoristio vrlo
ogranien raspoloivi prostor i izvanredno se
uklopio u okolinu. istoa linija i uvoenje
novoga materijala, zelene keramike na fasadi,
dodatno su obogatili ovaj objekt.
Vakuf Hovada (Hovadja) Kemaludin
(Mekteb)
This Reuf Kadi project was not given much at-
tention, but it is without doubt among his most
successful avant-garde works. The design of
this relatively small building, built at the corner
of Ferhadija and emalua Streets, was com-
pleted in June of 1939.
Glassed-in corner loggias were used in this
project as well, along with cantilevering of the
buildings upper floors. This second element
(oriel), which Reuf Kadi first utilised on the
IVZ Retirement Fund Building on Mula Mustafa
Baeskija Street, was obviously inspired by a
feature typical of traditional Bosnian houses.
It was often repeated in his later projects as
well. Also used were the characteristic rows of
continuous large windows that ensured good
natural illumination of the interior spaces. The
architect masterfully utilized the very limited
site and incorporated the building into its sur-
roundings. The cleanness of the buildings lines
and the introduction of a new material, green
ceramics, on the exterior further enriched the
project.
51
Vakuf Hovada Kemaludina (Mekteb), snimak iz 1939.
Vakuf Hovada Kemaludin (Mekteb), photo from 1939

Vakuf Hovada Kemaludina (Mekteb)

Vakuf Hovada Kemaludin (Mekteb)

52
Vakuf Hovada Kemaludina (Mekteb), snimak iz 2010.
Vakuf Hovada Kemaludin (Mekteb), photo from 2010

53
Vakuf Hovada Kemaludina (Neboder), snimak iz 2006. Vakuf Hovada Kemaludina (Neboder), slika proelja prema
Vakuf Hovada Kemaludin (Tower), photo from 2006 izvornom projektu
Vakuf Hovada Kemaludin (Tower), depiction of the front view
according to original design

54
Poslovno-stambena zgrada i nebo-
der vakufa Hovada Kemaludina
Projektiranje je ovoga kompleksa, izgraenog
u Ferhadija ulici, zapoeto 1939. godine. Pro-
jekt je vjerojatno trebao biti vrhunac arhitek-
tova rada za Vakufsku direkciju. Za sarajevske
pa i za tadanje jugoslavenske prilike to je
bio vrlo zahtjevan pothvat. Gradnja je poela
1940. godine i do rata su zavreni grubi rado-
vi na prizemlju i prvih pet katova. Zbog rata se
gradnja produila pa je trebalo sedam godina
do njenog zavretka 1947. godine.
Naalost, tokom se poslijeratnog dovrenja
odstupilo od izvornoga projekta te je toranj-
ski dio objekta upropaten u arhitektonskom
i vizualnom smislu. Pri tome je Reuf Kadi bio
potpuno iskljuen iz odluivanja o tome to
e se uraditi i zavretak je projekta povjeren
drugom arhitektu.
Prema izvornom je projektu, trebalo izgraditi
nii razvedeni dio zgrade s prizemljem i pet
katova, a na to se trebao nadovezati poslovni
toranj s dodatnih devet katova, svaki povrine
160 m2, te sa strojarnicom za dizala i druge
ureaje na krovu. Ukupna visina 15-katnog
tornja trebala je biti blizu 60 metara.
Nii dio zgrade je izgraen prije poetka rata
u skladu s izvornim projektom. Meutim, taj je
projekt naputen u poslijeratnim radovima pa
je toranjski dio zgrade zavren bez dva zadnja
kata, a strojarnica je premjetena u unutra-
njost tornja. Time je zgrada sniena za oko 10
metara. Moda su te promjene uraene zbog
pomankanja novca, ili pak zato to je tada mo-
Vakuf H. Kemaludin Residential and
Office Building and Tower
The design of this complex, built on Ferhadija
Street, began in 1939. This project was prob-
ably intended to be the architects crowning
achievement with the Vakuf Directorate. It was
a very demanding undertaking for Sarajevo,
and even for the country, at that time. The con-
struction started in 1940 and, when war broke
out, the first six floors had been raised. Because
of the war, the construction was extended and
took seven years until completion in 1947.
Unfortunately, the original design was aban-
doned during the post-war completion work
and the tower portion of the complex was de-
stroyed in both the architectural and visual
senses. Reuf Kadi was excluded from any par-
ticipation when these changes were made, and
responsibility for completion of the project was
given to another architect.
According to its original design, the structure
was to have a broad base consisting of the
ground floor and five additional storeys. Above
it was to be an office tower with an additional
nine storeys, each with 160m2 of gross floor
area, and a mechanical room for elevators and
other equipment on the roof. The total height of
the 15-storey tower was to be nearly 60 metres.
The base section was built before the war in ac-
cordance with the original design. That design,
however, was abandoned during the post-war
work and the tower section was completed
without the two top floors. In addition, the
mechanical room was moved inside the tower.
55
 da bilo politiki nepoeljno da Sarajevo prvo
u zemlji ima jednu tako prestinu graevinu.
Sve to i ne bi bila velika tragedija da su pro-
mjene projekta zavrile na ovome i da su
zadrani poetno predvieni arhitektonski
elementi. Meutim, i od toga se odstupilo.
Izvorno projektiran toranjski kubus istih lini-
ja, s karakteristinim ugaonim prozorima ak
bi i sada, sedamdeset godina kasnije, bio vi-
zualno suvremen. Naalost, promijenjeni pro-
jekt je ukljuio i dodavanje poetno nepla-
niranih balkona i terasa i smanjenje gabarita
zadnja tri kata. Izgubljeni su gotovo svi atribu-
ti Moderne i pojavila se zbunjujui neorgani-
zirana kreacija udnoga oblika.
Vrlo je vjerojatno da je ovo arhitektonsko na-
silje razoaralo i povrijedilo Reufa Kadia i
vjerojatno doprinijelo njegovoj odluci da na-
pusti projektiranje.
56
Consequently, the structure became about
10 metres shorter. These changes may have
been adopted because of a lack of money or,
possibly, because it was at that time politically
inopportune for Sarajevo to be the first city in
the former Yugoslavia with such a prestigious
structure.
All this would not have been such a tragedy
if project changes had stopped there and if
other original architectural elements had been
retained. But it was not to be. The original de-
sign, a simple clean-line cube with character-
istic corner windows, would even now, seventy
years later, be visually up-to-date. Sadly, in the
changed design, a number of originally un-
planned balconies and terraces were created
and the floor area of the upper three storeys
was reduced. Almost all of the Moderna attrib-
utes were lost and a strange-looking, confusing
and disorganized creation emerged.
It is very probable that this architectural brutal-
ization disappointed and wounded Reuf Kadi,
and likely contributed to his decision to stop
design work.
Vakuf Hovada Kemaludina (Neboder), Vakuf Hovada Kemaludina (Neboder), u vrijeme gradnje 1940. godine
izvorni nacrt proelja Vakuf Hovada Kemaludin (Tower), during construction in 1940
Vakuf Hovada Kemaludin (Tower),
original front view drawing

57
 Vakuf Hovada Kemaludina (Neboder), u vrijeme gradnje 1940. godine
Vakuf Hovada Kemaludin (Tower), during construction in 1940

58
Vakuf Hovada Kemaludina (Neboder), u vrijeme gradnje 1941. godine
Vakuf Hovada Kemaludin (Tower), during construction in 1941

59
60
Kua obitelji Kopi
Ova kua, izgraena u ulici Safvet-bega Baa-
gia 1939. godine, vjerojatno je jedna od naj-
uspjelijih malih kua izgraenih u Sarajevu u
stilu Moderne. Objekt je vrlo skladno i uspje-
no proporcioniran. Nenametljivo se uklapa u
okolinu s kojom ini jednu cjelinu. Majstorski
su osuvremenjeni i uklopljeni elementi tradi-
cionalne bosanske kue s pripadajuim ogra-
enim dvoritem i konzolno istaknutim nat-
prizemnim dijelom. I ovdje je upotrijebljena
dijelom ostakljena ugaona loa s interesan-
tnim rjeenjem ograde neostakljenoga dijela.
Uspjena upotreba domaih materijala svje-
doi o strunosti autora.
Kopi Family House
This house, built in 1939 on todays Safvet-
beg Baagi Street, is probably one of the most
successful small houses built in Sarajevo in
Moderna style. It is pleasantly proportioned
and blends unobtrusively into its surround-
ings. Elements of a traditional Bosnian house,
with its adjoining walled courtyard and canti-
levered upper floor, are masterfully adapted for
contemporary use. The upper floor includes a
partially glassed-in corner loggia with an inter-
estingly designed railing on the open side. Suc-
cessful utilization of locally available materials
again illustrates the architects expertise.
61
 Kua obitelji Kopi u vrijeme gradnje 1939.
The Kopi House during construction in 1939

62
Kua obitelji Kopi, snimci iz 2010.
The Kopi House, photos from 2010

63
64
Zgrada Mirovinskoga zavoda
Braa Kadi su ovu zgradu, smjetenu na uglu
sadanjih ulica Marala Tita i Hamze Hume, pro-
jektirali 1940. godine. Gradnja zgrade zapoe-
ta je u lipnju (junu) 1941. a zavrena je krajem
1942. godine. Taj stambeno-poslovni objekt
zasigurno ima antologijsku vrijednost i jedno je
od najznaajnijih i najkvalitetnijih dostignua
predratne Moderne u Bosni i Hercegovini.
Kompleksna lokacija na iroko otvorenom
raskriju, u blizini nekoliko vanih objekata
iz razliitih vremenskih razdoblja te otvore-
noga vodotoka i zelene povrine neposred-
no preko puta, zahtijevali su od projektanata
puno senzibiliteta za rjeavanje uklopljenosti
zgrade u njenu okolinu. U svojem su rjeenju
projektanti izvanredno uspjeli zadovoljiti ovaj
zahtjev i time poloili temelj za jedno od arhi-
tektonski najuspjenije rijeenih sarajevskih
ulinih krianja.
Sama zgrada ima neke od najboljih arhi-
tektonskih elemenata iz ranijih projekata:
ostakljene uglove, ovaj put lune u skladu s
oblikom zgrade, zatim nizove velikih prozo-
ra, konzolno istaknut natprizemni dio zgrade,
upotrebu keramike, ovaj put smee, na veem
dijelu fasade, te krovne terase, sve zavidno
skladno uklopljeno u dva meusobno razli-
ita ali komplementarna proelja, razigrano
istono i simplicistiki rijeeno sjeverno.
Iako je zgrada konstrukcijski u dobrom stanju,
istono proelje, koje je tokom zadnjega rata
pretrpjelo znatna oteenja, zahtijeva hitnu
Retirement Foundation Building
The Kadi brothers designed this building,
located at the corner of the current Maral
Tito and Hamza Humo Streets, in 1940. The
construction started in June of 1941 and the
building was completed at the end of 1942.
This residential and commercial project is of
unquestionable anthological value and one of
the finest and most significant achievements of
pre-war Moderna in Bosnia and Herzegovina.
The building sits on a complex, open intersec-
tion near several important landmarks from
various historic eras. There is an open water-
way and green space immediately across from
it. This unique site demanded that the designers
be particularly sensitive to the importance of
incorporating the building into its surround-
ings. In this they succeeded exceptionally well,
laying the foundation for one of most architec-
turally successful intersections in Sarajevo.
The building itself contains some of the best
architectural elements from earlier designs:
glassed-in corners, this time arced to follow the
shape of the building, rows of large windows,
cantilevered upper floors, ceramic surfaces, this
time brown, on most of the facade, and roof ter-
races. All of these elements are skilfully combined
on the two different but complementary facades,
the spirited east and the simplistic north.
Although structurally the building remains in
good condition, the east facade, which was sub-
stantially damaged during the last war, needs
urgent restoration. Hopefully, this shall soon be
65
 restauraciju. Nadajmo se da e se to uskoro
uraditi i da e se tom prilikom postaviti i ori-
ginalno projektirana, a nikad instalirana dizala
u zgradi.
Taj je objekt u svibnju (maju) 2008. godine
proglaen zatienim nacionalnim spomeni-
kom Bosne i Hercegovine.
done and shall include the elevators that were
part of the original design but never installed.
In May 2008, this building was officially declared
a protected national monument of Bosnia and
Herzegovina.

Detalj ulaznih vrata u zgradu

Detail of the main entrance door

66
Potpis ispod slike: Aller light 8, Italic

Zgrada Mirovinskog zavoda, snimak iz 1980-ih Zgrada Mirovinskog zavoda, snimak iz 2010.
Retirement Foundation Building, photo from the 1980s Retirement Foundation Building, photo from 2010

67
Stambeno naselje Didikovac, snimak iz 2010.
Residential Development Didikovac, photo from 2010

68
Stambeno naselje/kolonija
Didikovac
Po zavretku Drugoga svjetskog rata slijedila
je nagla urbanizacija Bosne i Hercegovine.
Broj pristiglih novih graana u Sarajevu su
uzrokovali dotad nezapamenu potrebu za
gradnjom novih stanova i drugih smjetajnih
prostora. Nove vlasti su, pritisnute ovom po-
trebom, poduzele razliite mjere za rjeava-
nje problema.
1947. godine, na natjeaju za projektiranje
i brzu izgradnju novoga naselja u gradu, pri-
hvaen je prijedlog brae Kadi za gradnju
kolonije nazvane Didikovac, i to na padini
izmeu sadanjih ulica Didikovac i Hadi which runs between the current Didikovac
Idrizove. Naselje je izgraeno u vrlo kratkom
roku i uz upotrebu novih i originalnih rjeenja
u graenju.
Naselje se sastoji od osam troetanih, meu-
sobno povezanih objekata izgraenih u tri pa-
ralelna kaskadna niza. Zgrade su izvanredno
uklopljene u okolne zelene prostore i s njima
ine jednu organsku cjelinu.
Iako su, ogranieni postavljenim uvjetima,
stanovi u naselju relativno mali, svaki s oko
70 m2 korisnoga prostora i pripadajuom te-
rasom od 12.5 m2, oni, za razliku od veine
slinih projekata graenih u to vrijeme, zado-
voljavaju sve zahtjeve za ugodnim i humanim
suvremenim stambenim prostorima. Prozra-
nost i osvijetljenost stanova kao i zgrada u
cjelini, lakoa prolaza izmeu nizova zgrada
i neprekinuta povezanost zelenih prostora
karakteriziraju ovo izuzetno arhitektonsko
Residential Development/Colony
Didikovac (Djidjikovac)
The end of WWII was followed by sudden urban-
ization in Bosnia and Herzegovina. The number
of new arrivals in Sarajevo created an urgent
need, never before seen, for the construction
of additional apartments and other residential
space. Under pressure, the new administration
undertook various steps to solve the problem.
In 1947, at a design competition for the rapid
development of a new residential block in the
city, the Kadic brothers proposal to design and
construct a colony called Didikovac was ac-
cepted. The block was developed on the ravine
and Hadi Idris Streets, and was completed in
a very short time with help of new and unique
construction methods.
The block consists of eight three-storey, in-
terconnected buildings, set in three parallel
cascading rows. The buildings are exception-
ally well integrated with the surrounding green
spaces, creating an organic unity.
In compliance with the projects terms of refer-
ence, the units were relatively small, each with
about 70 m2 of usable area and an adjoining
terrace of 12.5 m2. Yet they satisfied all the
needs of pleasant, comfortable contemporary
living. In this there was no comparison with
most other projects built at that time. The airi-
ness and brightness of the units and the build-
ings as a whole, the easy access between the
buildings, and the remarkable congruency with
the surrounding green spaces characterise this
69
 dostignue, jo i vie kad se ima u vidu vrije-
me u kojemu je ono nastalo.
I ovaj je projekt brae Kadi poetkom 2008.
godine proglaen zatienim nacionalnim
spomen ikom.
extraordinary architectural achievement, even
more so when one considers the era in which
it was created.
At the beginning of 2008, this development
was also officially declared a protected nation-
al monument.

Stambeno naselje Didikovac, prve idejne skice koje je uradio Reuf Kadi
Residential Development Didikovac, first conceptual sketches made by Reuf Kadi

70
Stambeno naselje Didikovac, snimak iz 2010.
Residential Development Didikovac, photo from 2010

71
Stambeno naselje Didikovac, snimak iz 2010.
Residential Development Didikovac, photo from 2010

72
Stambeno naselje Didikovac, snimci iz 2006.
Residential Development Didikovac, photos from 2006

73
 Karakteristini
arhitektonski
detalji
Projekte Reufa Kadia karakteriziraju neki ar-
hitektonski detalji koji se esto ponavljaju.
Neki od tih detalja, na primjer primjena kubi-
nih elemenata rasporeenih u skladne, me-
usobno komplementarne i povezane cjeline
i istoa ploha i pravaca generine su karak-
teristike Moderne. Neki od detalja, meutim,
oito predstavljaju primjenu tradicionalnih
elemenata starobosanske arhitekture, kao to
su na primjer konzolno istaknuti natprizemni
dijelovi zgrade.
Potrebu dobre osvijetljenosti unutranjih
prostora arhitekt je dosljedno rjeavao upo-
trebom kontinuiranih nizova velikih prozora
i njihovim povezivnjem sa susjednim osta-
kljenim ugaonim loama ili, ovisno o tlocrtu,
ugaonim prozorima. Takoer je esto upotre-
bljavo krovne terase i time donekle rjeavao
potrebu za otvorenim prostorom, toliko va-
nim u novom i zbijenom urbanom ambijentu
viekatnih zgrada, u isto vrijeme nastojei
vratiti izgubljene vizure prema okolnim brdi-
ma. Povezanost s okolnim prostorom i uklo-
pljenost njegovih objekata u taj prostor jo je
jedan zahtjev kojemu je Reuf Kadi dosljedno
nastojao udovoljiti.
74
Characteristic
Architectural
Details
The works of Reuf Kadi are characterised by
some architectural details that were often re-
peated. Some recurring themes, for example the
application of harmoniously interconnected
and complementary cubic forms and clarity of
planes and lines, are inherently generic attrib-
utes of Moderna. Some details, however, reflect
elements characteristic of traditional Bosnian
architecture, for example cantilevered upper
floors.
In his designs, the architect consistently pro-
vided for good natural illumination of interior
spaces by using continuous rows of large win-
dows and linking them with adjacent glassed-
in loggias or, depending on the layout, corner
windows. Roof terraces were also frequently
used. This, to an extent, was to satisfy the need
for open space, so important in the crowded
new environment of high-rise buildings and, at
the same time, to reopen the lost vistas towards
the surrounding mountains. The appreciation
of surrounding space and the natural incor-
poration of his buildings into that space was a
constant objective of Reuf Kadis design.
Skladnost cjelina Harmonic Integrity

Vakuf okadi hadi Sulejmana

Vakuf okadi hadi Sulejman

75
 Zgrada Mirovinskog zavoda
Retirement Foundation Building

76
Kua Kopi
The Kopi House

77
 Prirodna osvijetljenost unutranjih Natural Illumination of Interior
prostora - Ugaone loe i prozori Space - Corner Loggias and Windows

Vakuf okadi hadi Sulejmana

Vakuf okadi hadi Sulejman

78
Vakuf Hovada Kemaludina (Mekteb)
Vakuf Hovada Kemaludin (Mekteb)

79
 Konzolno istaknuti natprizemni Cantilevered Upper Floors
dijelovi zgrade

Vakuf Hovada Kemaludina (Mekteb) Stambena zgrada Penzionog fonda IVZ, ulica Miss Irby
Vakuf Hovada Kemaludin (Mekteb) IVZ Retirement Fund building, Miss Irby Street

80
Stambena zgrada Kapetanovi
The Kapetanovi House

81
 Krovne terase Roof Terraces

Stambeni blok u ulici Branilaca Sarajeva

Residential block on Branilaca Sarajeva Street

82
Stambeni blok u ulici Branilaca Sarajeva
Residential block on Branilaca Sarajeva Street

83
 Uklopljenost u okolni prostor Congruency with the Environment

Stambeno naselje Didikovac

Residential Development Didikovac

84
85
 Unutranjost zgrada
U svojim projektima Reuf Kadi je posvetio
naroitu panju detaljima interijera. Pratio je
napredna kretanja u projektiranju i doprino-
sio im svojim idejama. Nije oklijevao upotrije-
biti nove materijale i opremu. Funkcionalnost
svih arhitektonskih elemenata kao i njihov
izgled bili su mu vrlo vani. U ovome nije pra-
vio razliku izmeu projekata po njihovoj svrsi
ili vanosti.
Zidovi njegovih kuhinja, kupaona i drugih sa-
nitarnih prostorija su obino oblagani kera-
mikom, a podovi zavravani teraco ploama.
Sobe u stanovima su imale podove od parketa
slaganog u tada popularnom stilu riblje kosti.
Vrata su bila panelna, a njihovi pragovi od so-
lidnog drveta. Kade u kupaonama su bile ugra-
ene i obloene keramikom. Umivaonici i sje-
dei zahodi su bili od keramike. Upotrebljavao
je u to vrijeme vrlo napredne, automatski kon-
trolirane, protone plinske grijae vode. Tue-
vi su bili pokretni. Ulazna vrata u stanove su
bila vea od standardnih da olakaju pristup.
Ponekad je upotrebljavao ugraene ormare.
Neki stanovi su imali klizna vrata izmeu glav-
nih prostorija ime se, u sluaju potrebe, omo-
guavalo njihovo spajanje. Upotrebljavao je
svjetlarnike da omogui prirodno osvjetljenje
u veini unutranjih prostora. Prozori su obi-
no bili dvostruki s otvaranjem oko vertikalne
86
Building Interiors
In his designs, Reuf Kadi paid particular atten-
tion to building interiors. He followed advance-
ments in design and contributed his own ideas.
He did not hesitate to use new materials and
equipment. Functionality of all architectural
elements was very important, as were the aes-
thetics. In this he did not discriminate between
projects based on their purpose or importance.
The walls of his kitchens, bathrooms and other
sanitary rooms were usually clad in ceramics,
and floors finished with terrazzo tiles. Other
rooms had parquet floors laid in the then popu-
lar herringbone pattern. He used panel doors
with thresholds of solid wood. The tubs in his
bathrooms were built-in and had ceramic clad-
ding. Basins and toilet bowls were ceramic. He
used at that time very advanced, automatically
controlled, gas-fired water heaters with contin-
uous water flow. He also used portable shower
heads. Entrance doors to individual residential
units were oversized to facilitate easier access.
He sometimes used built-in closets. Some units
had sliding doors between principal rooms to
allow them to be joined when needed. He used
skylights and light wells to facilitate natural
illumination of most of interior spaces. Win-
dows were usually doubled, casement type.
The distance between the panes was about
15 cm to ensure better thermal insulation.
osi. Razmak izmeu unutranjih i vanjskih
krila je bio oko 15 cm, zbog bolje toplinske
izolacije. Izlazi na balkone i terase su bili kroz
dvostruka vrata. Ruice i kvake vrata i prozora,
poklopci otvora za pisma i kontrolna okna na
vratima su bili od mesinga i modernog oblika.
Lampe i plafonska svjetla te pei za grijanje
soba su takoer bili moderni. Stepenita su
bila iroka i svjetla. Obino su zavravana u
teracu. U nekim zgradama su pojedinane ste-
penice bile od solidnog kamena. Ograde ste-
penita su bile modernog oblika s parapetom
u teracu, metalnim stupovima i donjim longi-
tudinalama, te ovalnim rukohvatom od solid-
nog drveta. Reuf Kadi je esto upotrebljavao
ugodne kombinacije pastelnih boja da naglasi
pojedine dijelove njegovih interijera.
U poslovnim i institucionalnim objektima te
objektima za druge svrhe je dosljedno pri-
mjenjivao napredna arhitektonska rjeenja
odgovarajua takvim projektima.
Double doors were used for access to balconies
and terraces. All door and window knobs and
handles, letter-slot covers and spy-holes were
finished in brass and were contemporary in de-
sign. Light fixtures and room heaters were also
contemporary. The stairways were wide and
bright. There he usually used terrazzo finishes.
In some buildings, individual steps were made
of solid stone. The stairway railings had a con-
temporary look. They had terrazzo parapets,
metal posts and lower rails, and were topped
with oval handrails made of solid wood. Reuf
Kadi often used pleasant combinations of pas-
tel colours to enhance his interiors.
In his designs of commercial and institutional
buildings, and buildings for other uses, Reuf
Kadi consistently applied advanced architec-
tural solutions appropriate for such projects.
87
 Ugraena kuhinjska pe
Built-in kitchen range

88
Detalji stepenita
Stairway details

89
90
Zahvala
Ova knjiga vjerovatno nebi bila zavrena i
objavljena bez pomoi nekoliko dobrih i lju-
baznih osoba koje su mi pomogle u prikuplja-
nju potrebnih podataka i pripremi knjige za
tisak.
Posebno sam zahvalan akademiku profesoru
Zlatku Ugljenu na njegovm prilozima, pregle-
du knjige i pristanku da napie uvodne rijei
za knjigu. Tekstovi akademika Ivana trausa,
moji razgovori sa njim i njegovi komentari su
mi pomogli u pisanju i bili znaajan izvor po-
trebnih podataka.
Osjeam se dunim i zahvaljujem mom ro-
aku Ameru Kapetanoviu to je preuzeo na
sebe zahtjevnu ulogu pripreme fotografske
dokumentacije, a mom prijatelju iz Toronta,
arhitektu Daliboru ieku, za sliku vakufskog
nebodera uraenu po izvornom projektu. Pi-
sanje knjige paralelno na dva jezika, na to
sam se od poetka odluio, nije bilo jedno-
stavno. U tome su mi strune sugestije Margo
Hilton i Vesne Zeevi bile velika pomo i za
to sam im zahvalan.
Acknowledgements
This book would not have been possible with-
out the help of some good and kind people who
aided me in the collection of necessary data
and in preparing the book for publishing.
I am especially grateful to academician Profes-
sor Zlatko Ugljen for his contributions and re-
view of the book, and for his agreement to write
the foreword for it. The writings of academician
Ivan traus, my talks with him and his com-
ments aided me in my task and provided me
with a good deal of relevant information.
I am indebted to my relative Amer Kapetanovi
for his taking on the demanding task of photo
documents preparation, and to my Toronto
friend, architect Dalibor iek, who prepared
the image of Vakufs Tower based on the origi-
nal design. The writing of the book in two lan-
guages in parallel, which I decided to do right at
the beginning, was not simple. In this, the expert
suggestions of Margo Hilton and Vesna Zeevi
were a great help and I thank them for that.
91
 elim naglasiti pomo i jo jednom se zahvali-
ti Muhamedu Hodiu i Ahmedu Mehmedovi-
u iz Gazi Husrevbegovog arhiva, i Muhamedu
Hadiomeroviu, Ahmetu Zulfikarpaiu i Nar-
cisi Puljek-Bubri iz Bonjakog instituta u Sa-
rajevu koji su mi omoguili pristup njihovim
podatcima o radu mog oca.
Takoer najiskrenije zahvaljujem svim ovdje
neimenovanima koji su mi pomogli u realiza-
ciji ovog projekta.
92
I would like to acknowledge and once again
say thank you to Muhamed Hodi and Ahmed
Mehmedovi from Gazi Husrevbey Archives,
as well as to Muhamed Hadiomerovi, Ahmet
Zulfikarpai and Narcisa Puljek-Bubri from
Boshniak Institute in Sarajevo, who facilitated
my access to their data about my fathers work.
I am also truly thankful to all others, here un-
named, who helped me in the realization of this
project.
Bibliografija Bibliography

1. traus Ivan, NOVA BOSANSKO-HERCEGOVAKA ARHITEKTURA,

Svjetlost, Sarajevo, 1977.
2. traus Ivan, PRILOZI HISTORIJI SARAJEVA, str. 441-450,
SAVREMENA ARHITEKTURA SARAJEVA 1918-1990,
www.iis.unsa.ba/posebna/sarajevo/ivan_straus.htm.
3. traus Ivan, ARHITEKTURA BOSNE I HERCEGOVINE,
THE ARCHITECTURE OF BOSNIA AND HERZEGOVINA
1945.-1995, OKO Sarajevo, 1996.
4. traus Ivan, POTPUNI NEMAR I RAVNODUNOST (Zaboravljene
linosti i datumi), Osloboenje, Sarajevo, str. 34, 20.04.2006.
5. traus Ivan, 99 ARHITEKATA SARAJEVSKOG KRUGA 1930.-1990,
TKD ahinpai/BTC ahinpai, Sarajevo/Zagreb, 2010.
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program, 60, 1988.
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U BiH, Radio Sarajevo trei program, tonski zapis, 1988.
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godinjice smrti, vrijeme objave nepoznato.
9. Miloevi Predrag V., ARHITEKTURA U KRALJEVINI
JUGOSLAVIJI, str. 304-307, 6.10. Muhamed i Reuf Kadi,
Srpsko kulturno i prosvjetno drutvo Prosvjeta,
Srbinje 1997.
10. Jankovi ivorad, MUHAMED KADI, IVOT I DJELO, Akademija
nauka i umjetnosti i Bonjaki institut, Fondacija Adila
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(Otrgnuto od nemara i ravnodunosti), Osloboenje,
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Prilozi, 31, 1-320, Sarajevo, 2002.

95