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Emir Kadić
ARHITEKT / ARCHITECT Reuf Kadić

Sarajevo, 2010.

Autor i izdavač/Author and Publisher
Emir Kadić

Design
Communis, Sarajevo

Štampa/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 Kadić R.

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

Tekst uporedo na bos. i engl. jeziku. – Sjećanja,
Memories / Zlatko Ugljen: str. 5-8. -
Bibliografija: str. 95

ISBN 978-9958-891-53-3

COBISS.BH-ID 18291974

Emir Kadić ARHITEKT / ARCHITECT Reuf Kadić I POČETCI MODERNE ARHITEKTURE U BOSNI I HERCEGOVINI AND THE BEGINNINGS OF MODERN ARCHITECTURE IN BOSNIA AND HERZEGOVINA .

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do know of some buildings that were zrače istovrijednom i lako prepoznatljivom li. inženjer Reuf Kadić’s son. Znamo. My sjećanja na te dane prije šezdeset godina po. Tada nisam bio svje. uostalom. tri. nastao had such an exceptionally rich and successful tridesetih godina dijelom u koautorstvu s architectural background accumulated during njegovim bratom profesorom Muhamedom the 1930s. asistiranje kod ing. ove publikacije i sin Reufa Kadića. nia and Herzegovina. for Sarajevo’s Mod- desetih godina. After graduating from the Technical Middle vu. istoj onoj koju je završio i Reuf Kadić dva. this is not very significant. there is no undisputable in- na saznanja o kakvoj i kolikoj saradnji se radi. i za neke objek. bila u punom jeku. We. Po završenoj Srednjoj tehničkoj školi u Saraje. Nevertheless. and even beyond it. the same school that Reuf desetih godina prošlog stoljeća. also refers to this građevine Emir Kadić. kako uostalom podsjeća u tekstu brother Professor Muhamed Kadić. explore and familiarise myself with the excit- ljivi svijet arhitekture. As far as I know. partially in cooperation with his Kadićem. I was starting to praktično upoznavati i izučavati ovaj uzbud. not done jointly and they still reflect the same kovnom kulturom. by te koji nisu rezultat zajedničkog rada a ipak the way. aware that I was working next to a man who no bogat i uspješan graditeljski opus. Bilo kako bilo. 5 . works bujne baštine savremene arhitekture. In this text. ali ne i zaboravljena. Koliko znam za sada ne postoje vjerodostoj. which in those 1930s was in full bloom. formation about the type and extent of this Ipak. Tako su i I was an assistant to architect Reuf Kadić. In donirali su Bosni i Hercegovini pa i šire djela large terms. perspective. to i nije od erna. School in Sarajevo. memories of those days sixty years ago have malo izblijedila. ing world of architecture. presudnog značaja gledajući iz šireg i općeg and looking from a broader and more general aspekta. At that time I was not stan da radim uz čovjeka iza koga stoji izuzet. somewhat faded but have not been forgotten. za sarajevsku Modernu koja je tada. Emir Kadić. braća Kadići values and easily recognizable visual culture. the Kadić brothers donated to Bos- koja bez svake sumnje predstavljaju vrh ose. cooperation. Reufa Kadića.Sjećanja Memories Vrlo davno i relativno kratko trajalo je moje A long time ago and for a relatively short time. cooperation. arh. počeo sam Kadić attended in the 1920s.

Tu je cal advances. Dušan Smiljanić. content and form. In the 1920s. dakle u distinctive modern architectural inheritance. škole koja prihvata i elaborira ide. was fortunate enough to learn about contem- ka “Praške arhitektonske škole” prof. and vice versa. Na njoj se i danas that the Vakuf Hovadža Kemaludin (Mekteb) 6 . Dvadesetih godina pohađao je Reuf Kadić which without doubt represent the peak of a Srednju tehničku školu u Sarajevu. što će se po. when Reuf Kadić was a student at the Technical Middle School in Sarajevo. At the time. učeni. unit did not endanger its septum. vrijeme kada je već sasvim razvijeno formuli- ranje osnovnih principa Moderne. in Bosnia and Herzegovina and former stu- dent at the “Prague Architectural School”. foundation of the basic principles of modern hitekture imao je sreću da upoznaje i otkriva architecture was already fully developed. nate his projects and realisations. Here Kadić really obratno. onaj zdravi funkcionalizam koji the Bauhaus ideas and contributed its own dis- zagovara skladnu sintezu sadržaja i forme tinctive identity. posebno u kulturi stanovanja. They were bene jedinice ne ugrožavaju njen septum i predominantly interpolations. već čine optimalnu simbiozu. rati kao izuzetan primjer zgrade Vakuf Hovad. Dušana porary architecture from his teacher Professor Smiljanića. the Prva saznanja o problemima savremene ar. Kadić kod doajena moderne arhitekture BiH. “Prague School” embraced and elaborated on nom zamahu. functionalism was in full force in sebno reflektirati na stambene zgrade Reufa Czechoslovakia. doyen of modern architecture je Bauhausa unoseći vlastiti identitet. demonstrated high artism in which the organi- sation of space and the content of a residential Mislim da treba posebno spomenuti i akcenti. It was a healthy functional- Kadića koje i inače dominiraju u njegovim pro. but they formed an optimal symbiosis. This was especially reflected in Kadić zaista demonstrirao visoki artizam u Reuf Kadić’s residential buildings which domi- kojem prostorna organizacija i sadržaji stam. u jedinstvu sa rezultatima tehničkog napretka. particularly in the culture of habitation and in the incorporation of techni- U najvećem broju to su interpolacije. I think ža Kemaludina (Mekteb). The U Čehoslovačkoj je tada funkcionalizam u pu. ism which promoted harmonic synthesis of jektima i realizacijama.

prisjećam poratnog vremena s for this. sena svjesno ili nesvjesno. and architectural level of that matrix. either intention- godinama prekinuti tako uspješnu aktivnost ally or not. trations and finally in his decision to stop his mo. iz čega će proizaći the son is searching for injustices that may očevo razočarenje pa će u punim stvaralačkim have been done to his father.može učiti kako interpolirati novo na zateče. the son’s picture of his father speaks much đenom nepravdom koja je ocu možda nane. kraja četrdesetih i početka pedesetih godina prošlog stoljeća. Možemo samo pretpostavljati. između ostalog. Neverthe- koji se tada projektiraju i grade u Sarajevu do. and inevita- zvati sjećanja na oca i njegovo zavidno djelo. successful architectural career during his most creative years. zapravo podići likovno exceptional building. bly somewhat sentimental and nostalgic text in which a son tries to recall memories of his fa- Naravno slika sina o ocu govori daleko senzi. rally. štivo u kojem sin pokušava pri. Croatia and Serbia came to Sarajevo to citeta jednog Reufa Kadića. Razloge prave ne zna. less. And here I am recalling the post-war period from the late 1940s and early 50s. gotten. their diapason and creative ca- razloga značajnije javne i stambene objekte pacity was not at Reuf Kadić’s level. In truth. Natu- bilnije jer. Hrvatske i Srbije. Pa ipak iz nekih help. mekano i na svoj način neminovno sa prizvukom sentimentalnosti i In his efforts to ensure that all this not be for- nostalgičnosti. U Sarajevo tada na ispomoć dolaze arhitekti iz Slovenije. we receive this fine. venia. actually raising the visual Ne dozvoljavajući da sve to bude zaboravlje. which resulted in the father’s frus- projektanta i graditelja. Istini za volju nisu At that time a number of architects from Slo- to bile ličnosti dijapazona i stvaralačkih kapa. sin traga za odre. lic and residential buildings that were designed 7 . gentle. among other things. more sensitively because. for some reason the most significant pub- djeljuju se njima. Even today one can learn arhitektonski nivo zatečenog. from it how to interpolate the new on an exist- ing patinated matrix. We can only presume. We do not know the real reasons A ja se. evo. should be mentioned here as an example of an noj patiniranoj matrici. ther and of his father’s substantial opus. no dobili smo ovo fino.

inte. dostojanstvenog. autoritativnog. dignified. Otvara se Tehnički fakultet s odsjekom za ar. uvijek spremnog da pomogne i I remember this passionate creator. In spite of the shortage of teaching staff. tual with a European attitude. proud. tectural Department was formed in Sarajevo. was no place there for Reuf Kadić. lektualca evropskog duha. dilligent. tu nema same time. ponosnog. a Technical Faculty with an Archi- mjesta za Reufa Kadića. At the hitekturu. radinog. Zlatko Ugljen Zlatko Ugljen 8 . vedrog i du. an intelec- posavjetuje saradnike. there Sjećam se tog pasioniranog stvaraoca. authoritative in a way that was unassuming but still conveyed. vi ga osjećate. koji to ne pokazuje ali always ready to help and advise his coworkers. and built at that time were given to them. I pored manjka nastavnika. hovitog. optimistic and witty.

Emir Kadić ARHITEKT / ARCHITECT Reuf Kadić 9 .

abi 10 .

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te sam more information about my father’s projects. zasad nepoznat. peared in the 1970’s. nasilja i strahota koje if archives in Sarajevo were easily accessible su grad i ljudi u njemu nedavno pretrpjeli. Čini se da je jedan. Bio je va. This includes my father’s personal documentation which unaccountably disap- Unatoč teškoćama. tion primarily during my occasional visits to vi lako dostupni i sređeni. I was searching for that informa- jednostavan zadatak da su sarajevski arhi. violence and dojam nedovoljnoga entuzijazma za restau. Kako većinom This recently prompted me to start looking for boravim izvan Bosne i Hercegovine. That would have been a simple task tako. learn more iznenada odlučio napustiti projektiranje. ideas and is regarded as one of the authors ture u Bosni i Hercegovini. Unfortunately. pears that an unknown quantity of such docu- tacije. suddenly decided to stop practising architec- ture in the midst of his creative prime. podatke uglavnom skupljao tokom mojih As I spend most of my time outside Bosnia and povremenih dolazaka u Sarajevo. I have regretted that I saznao o njegovu radu i o tome zašto je tako did not. lost. there is an apparent lack dio te dokumentacije zametnut. Uvod Introduction Reuf Kadić nije bio običan arhitekt. Ever since his unex- nisam. godine žalio sam što Reuf Kadić was my father. of early modern architecture in Bosnia and Herzegovina. dok je to još bilo moguće. and possibly because of the current grada. Reuf Kadić je bio moj otac. tation about the city’s cultural heritage. or even sedamdesetih godina. izgubljen. Možda zbog rata. i to from him about his work and about why he so usred njegova kreativno najboljega razdoblja. koja je neobjašnjivo nestala negdje ments may have been misplaced. financial limitations. Possibly because of the war. a and well organized. He žan unosilac avangardnih ideja i smatra se was an important promoter of avant-garde jednim od stvaralaca rane moderne arhitek. when it was still possible. It ap- čujem i dobar dio očeve osobne dokumen. To me navelo da odnedavno počnem tražiti podatke o očevim projektima. uspio sam sakupiti naj. stječe se so. Reuf Kadić was not an ordinary architect. to nije Sarajevo. važnije podatke o očevim najznačajnijim 12 . Tu uklju. od njega više pected passing in 1974. of enthusiasm for the restoration of documen- možda čak i nepovratno uništen. Još od njegove ne- očekivane smrti 1974. atrocities so recently endured by the city and raciju dokumentacije o kulturnom nasljeđu its citizens. Nažalost. destroyed. To bi bio Herzegovina. this is not možda i zbog sadašnje besparice.

essential importance for the subsequent blossom- diktatom arhitektonskoga socrealizma karak. already neglected during the dinu i kraj rata većina najvrjednijih objekata years 1941-1991. By 1995 the majority of the finest skih perioda. Neke od fotografija zgrada u ovoj knjizi. slowed down the necessary building reconstruc- ješiti. This is a serious problem requir- napravljene u zadnje dvije godine. tion programme. I have been able to col- stveno zato da ostanu budućim generacijama lect considerable important information about my u našoj porodici. pisanje detalj. Također. were severely damaged during Moderne. the fortunately brief dictate of architectural soc- realism that characterised the socio-political envi- Sarajevske građevine. primarily to leave them behind for future svaki tekst koji je pisao sin o njegovu ocu sa. Po mom skromnom mind. It is imati u vidu pri čitanju ove knjige. Sarajevo’s buildings. the current shortage of money and some usporavaju potrebni tempo obnove građevi. Unfor- uvijek dijelom neriješena pitanja vlasništva tunately. taken in the last two years. and then for the benefit drži i neka subjektivna mišljenja pa to treba of others who may have an interest in them. godinama zapuštane ronment around the year 1950. i to prven. still unresolved property ownership issues have na. In my humble opinion. perts. Some of the pictures in this ilustriraju ovaj problem. This blossoming was somewhat delayed by oko 1950. the Moderna period ativnosti na našim prostorima. godine. Additionally. ing of contemporary architectural creativity in the terističnoga za društveno-političku situaciju area. Prirodno je da here. 13 .radovima i predstaviti ih ovdje. In spite of the difficulties. mišljenju. generations of our family. were in a very bad state. kao i građevine iz drugih vremen. dočekale su u vrlo lošem stanju. razdoblje Moderne (arhitekture) u I leave the writing of a more detailed professional Bosni i Hercegovini imalo je ključno značenje analysis of my father’s work to architectural ex- za kasniji značajan procvat arhitektonske kre. Taj je procvat of architecture in Bosnia and Herzegovina was of bio donekle usporen. a uz to i za korist drugima father’s most significant projects and present them koje bi ovo moglo zanimati. examples of Moderna. go. natural that any text written by a son about his kako nisam školovani arhitekt. u razdoblju od 1941. To je ozbiljan problem koji treba hitno ri. do 1991. father would include some subjective opinions. as I am not a trained architect. as well as buildings from Nažalost. 1995. nije stručne analize rada moga oca prepuštam and the reader of this book should keep this in stručnjacima arhitektima. book. su pretrpjele velika oštećenja u nedavnom ratu. the last war. sadašnje pomanjkanje novca i još other time periods. najbolje ing prompt resolution. nasreću kratkotrajnim. clearly illustrate this problem.

ali u isto vrijeme ne vide nikakav problem u Braća Kadić su imali sreću da su studirali u uklapanju u postojeći urbani kontinuitet. Mate Baylona. U ovom radu značajna je pa- ricizmom i konzervatizmom. Na kraju su prevladale ideje uradili braća Kadić. One donose nove funk. Pragu baš u vrijeme žestokih prepirki o tome kakva treba biti suvremena arhitektura i u Tih godina u Sarajevo dolazi ili se sa studija vrijeme kad je ”praška škola” izrasla u jedan na Zapadu vraća nekoliko mladih arhitekata od vodećih centara europske moderne arhi- koji nastoje te nove i moderne ideje primije. godine. i Muhamed. Nesumnjivo je da je takvo okruženje niti i na našem tlu. stup arhitekturi. tekture. Pavlina. cionalne koncepte i jednostavnost forme. Mo- revolucionarni prekid s ”retrogradnim” histo. Emanuela Šamaneka. dasara. Prvi objekt izgrađen u stilu uvelike pogodovalo njihovu naprednom raz- Moderne je stambena zgrada porodice Damić mišljanju o arhitekturi i formiralo njihov pri- u Radićevoj ulici u Sarajevu iz 1927. čitih struja u zapadnoeuropskom arhitekton. Ise Reissa. Slijedili su drugi projekti Smiljanića. Početci moderne arhitekture u Bosni i Hercegovini Početno razdoblje dvadesetoga stoljeća ka. 14 . Jahi- skom svijetu. Leona Kabilja. ravca i drugih. u početku Reuf. a kasnije moderne arhitekture. drugi su se tome žnja posvećena projektima Moderne koje su žestoko opirali. Projektirali su je Dušan Smiljanić i Helen Bal- rakterizirala su burna previranja i sukobi razli. Pojedine grupe zagovarale su ela Fincija.

Other buildings designed characterised by turbulence and passionate by Smiljanić.The Beginnings of Modern Architecture in Bosnia and Herzegovina In the early part of the twentieth century. those energetic exchanges of ideas about which course contemporary architecture should take. 15 . the ideas of “Moderna” architecture pre. emerged as one of the leading centres of Eu- ing in the West. groups wanted a revolutionary break with “ret. and later on also Muhamed. Mate Baylon. They promoted new. Emanuel Šamanek. but at the The Kadić brothers were fortunate to be study- same time had no problem blending into the ing in Prague just at the time when there were existing urban continuum. modern ropean modern architecture. Moravec. vailed. others nificant attention is given to Moderna projects spoke out enthusiastically against it. that such an environment greatly contributed The first building built in Sarajevo in Moderna to the formation of their progressive thinking style was Damić’s apartments on Radićeva and approach to architecture. end. Jahiel Finci. designed in 1927 by Dušan Smiljanić Western European architectural world was and Helen Baldasara. Iso Reiss. These ideas embraced new concepts of functionality and simplicity of forms. sig- rograde” historicism and conservatism. the Street. While some architectural biljo. In the designed by the Kadić brothers. About this time. at first Reuf. There is no doubt architectural ideas and applied them locally. In that work. and at the time when the “Prague School” ther came to Sarajevo or returned after study. and others followed. Pavlin. Leon Ka- clashes of ideas. several young architects ei.

godine Reuf Kadić je počeo studirati studies at the Technical High School in Prague. (aprila) 1908. Ali-efendi. Reuf Kadić began his architectural 1927. godine. istovremeno sa starijim graduated with excellent grades in 1926. Prague in Czechoslovakia to study architecture. Biografski Biographical podatci Data Reuf Kadić je rođen u Sarajevu 25. who was at the time na Velikoj gimnaziji u Sarajevu. In 1927. u to je vrijeme predavao er. From djecu poučavao o svijetu oko njih i u njima their early days. His father. školi. travnja Reuf Kadić was born in Sarajevo on April 25. 1908. Ali-efendija teaching at the High Gymnasium (academic je imao četvero djece. years of junior gymnasium. Reuf Kadić enrolled nju tehničku školu i s odličnim uspjehom je in the Technical Middle School in Sarajevo. that year only Muhamed went to studij arhitekture u Pragu uputio samo Muha. Ali-efendi had njihove rane mladosti. Reuf je ostao u Sarajevu još jednu godi. be- 16 . and tried to inspire in za kulturom. Tokom studiranja je redovito to Sarajevo to work and earn the money needed dolazio u Sarajevo i radio kako bi zaradio no. Ali-efendi Kadić. he regularly returned home tehničkoj školi. After finishing elementary school and four zije. profesor orijentalnih jezika sa struč. poznat pisac. polyglot and translator. Još od secondary school) in Sarajevo. dobar pozna. In 1930. of oriental languages with a diploma obtained nim ispitom položenim u Beču. Ali-efendija je svoju four children. arhitekturu/visokogradnje na praškoj Visokoj During his studies. western cultures. Reuf remained in Sarajevo for another year and nu i radio kao predavač na Srednjoj tehničkoj worked as a lecturer at his former school. Reuf Kadić se upisao na sarajevsku Sred. he was an accomplished writ- poliglot i prevodilac. for the continuation of his studies. three sons and a daughter. godine. them a creative curiosity and a thirst for culture. he taught his children about nastojao probuditi kreativnu znatiželju i žeđ the world around them. med. Well versed in both eastern and valac istočne i zapadne kulture. same year as his older brother Muhamed. the bratom Muhamedom. in Vienna. He završio 1926. Skromne financijske mogućnosti njihova oca As their father’s modest financial resources nisu mogle poduprijeti zajednički nastavak could not support further education for both školovanja obojici braće pa se te godine na brothers. Njegov otac. tri sina i kćerku. was a teacher ja Kadić. Nakon osnovne škole i četiri razreda gimna.

Po završetku se rata vraća u Sarajevo. koji je zbog rata uskoro prestao raditi. za Vakuf projektirao i realizirao preko pedeset projekata. and tektonskim natječajima. In November 1935. interrupt his studies for two years and to work dij i gotovo dvije godine stalno raditi u Saraje. Odlazi the city of Varaždin in Croatia. skoj operativi. povremeno surađivala na projektima i arhi. struction of roads and bridges in the region of 17 . he returned to Sarajevo. and in 1936 started working U međuvremenu se i brat Muhamed vratio in the architectural firm of their former teacher u Sarajevo i 1936. mom iz arhitekture. Dušan Smiljanić. Muhamed graduated in Prague in 1939. with very good marks in June of 1934. je dva puta hapšen kao taoc njemačke vojske. He moved to Reuf Kadić je morao napustiti Sarajevo. after he had twice been de- U kolovozu (augustu) 1942. godine tectural office. After his passport was vu. nastavio studij i diplomirao Prague. Muhamed je diplomi. nakon što tained and held hostage by German authorities. 1930. Reuf Kadić started working dić je u studenom (novembru) 1935. his brother Muhamed also re- turned to Sarajevo. Na tom je poslu ostao do kolovoza 1942. oduzele pasoš. He remained in this job until August arhitekta. cause of his involvement with the liberal stu- ne su mu jugoslavenske vlasti. full-time in Sarajevo. Prvi where his first assignment was the recon- zadatak bila mu je obnova prometnica i mo. In the meantime. Morao je prekinuti stu. continued his studies and graduated s vrlo dobrim uspjehom u lipnju (junu) 1934. and during that period realized more (augusta) 1942. in construction until the end of war. The brothers occasionally tnom uredu njihova nekadašnjeg profesora. Braća su otad ticipated in several architectural competitions. godine. which soon was forced to close braća otvorila njihov zajednički arhitektonski down because of the war. in 1940 the brothers opened their joint archi- rao u Pragu 1939. He was godine.vac potreban za nastavak studija. godine for the Vakuf (Vakf. godine i u tom je razdoblju than fifty of Vakuf’s projects. godine pa su 1940. his passport was re- veza s liberalnim studentskim pokretom u voked by Yugoslav authorities. after finishing his compul- Po završetku obavezne vojne službe Reuf Ka. worked together on projects and jointly par- arhitekta Dušana Smiljanića. godi. ured. Bio je prvi musliman s područja ne. the first Muslim in the former Yugoslavia to ob- kadašnje Jugoslavije s univerzitetskom diplo. The war now over. Po povratku pasoša krajem 1931. returned in November 1931. Waqf) Directorate in Saraje- počeo raditi u Vakufskoj direkciji u Sarajevu vo as their Technical Office manager and head na mjestu voditelja Tehničkog ureda i glavnog architect. sory army service. Reuf Kadić had to leave Sarajevo. tain a university degree in architecture. In August of 1942. godine. he went back to vratio se u Prag. godine zaposlio u projek. He was forced to Pragu. zbog njegovih dent movement in Prague. where he worked u Varaždin gdje do kraja rata radi u građevin.

Reuf Kadić. 18 . godine Reuf Kadić je. tive and successful career in architectural de- no bavljenje arhitektonskim projektiranjem. for yet unexplained rea- voljno objašnjenih razloga. godine. ny “Graditelj”. Croatia. then he đevina. he worked as an architect kao arhitekt u republičkom Ministarstvu gra. sons. stitute for Design and. He died suddenly on July 6. tions in project and construction management. a potom je bio šef jednoga projektnog led an architectural design section at the In- odjela u Zemaljskom projektnom zavodu i. direktor građevinskoga podu. Subse- srednjoj tehničkoj školi u Sarajevu. and in professional education. U mirovinu je otišao u srpnju (julu) 1967. tive in his profession. 1974. but still remained ac- dine. žaja u građevinarstvu i stručnom obrazovanju. After that. srpnja (jula) 1974. he worked in several senior posi- toga je radio na nekoliko rukovodećih polo. stova na području Jablanice. Nakon quent to this. reviewing architectural viziji arhitektonskih projekata i projektiranju projects and designing a few smaller houses. iz dosada nedo. He retired in 1967. managing director of the construction compa- zeća ”Graditelj”. In 1950. nekoliko manjih kuća. Poslije je radio Jablanica. 1950. of Šibenik. he was kraće vrijeme. sign and accepted the position of principal in Prihvatio je mjesto direktora u Građevinskoj the Technical Middle School in Sarajevo. ali je i dalje ostao u struci radeći na re. suddenly decided to stop his very produc- čio prekinuti svoje dotad vrlo plodno i uspješ. go. iznenadno odlu. in the town beniku 6. for a short time. in the state Ministry of Construction. Umro je iznenada u Ši.

školska godina 1925..-1926.Maturanti Srednje tehničke škole u Sarajevu. class of 1926. s profesorima Smiljanićem i Baldasarom Graduates from the Technical Middle School in Sarajevo. with their teachers Smiljanić and Baldasara 19 .

Studentski indeks s Visoke tehničke škole u Pragu Student index from the Technical High School in Prague Reuf Kadić s bratom Muhamedom tokom njihova studija u Pragu Reuf Kadić 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 .

godine During his temporary work for the ”Rad” company in Sarajevo Shortly before graduation in Prague in 1934 22 .U vrijeme honorarnog rada u poduzeću ”Rad” u Sarajevu Malo prije diplomiranja u Pragu 1934.

Diploma Visoke tehničke škole u Pragu Diploma from the Technical High School in Prague 23 .

In Sarajevo around 1938 S bratom Muhamedom u Sarajevu With his brother Muhamed in Sarajevo 24 .U Sarajevu oko 1938.

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

Sa suprugom Hašmetom kasnih 1930-ih godina
With his wife Hašmeta in the late 1930s

25

S maturantima Građevinske srednje tehničke
škole u Sarajevu 1958.
With graduates of the Technical Middle School in
Sarajevo in 1958

Reuf Kadić oko 1960.
Reuf Kadić around 1960

S nastavnicima Građevinske srednje tehničke
škole u Sarajevu 1960.
With teachers of theTechnical Middle School in
Sarajevo in 1960

26

Kronologija Work and
rada i Project
projekata Chronology

1. RAZDOBLJE 1926.-1934. 1. PERIOD 1926-1934

Po završetku školovanja na sarajevskoj Sred- Following his graduation from the Technical Mid-
njoj tehničkoj školi, Reuf Kadić je cijelu škol- dle School in Sarajevo, Reuf Kadić remained at
sku godinu 1926/27. radio na toj školi kao the school as a lecturer for the whole 1926/27
predavač. U jesen se 1927. godine, upisao na school year. Then, in the fall of 1927, he enrolled
studij arhitekture na Visokoj tehničkoj školi u in architectural studies in Prague, Czechoslovakia.
Pragu.
While studying, he periodically returned to
Tokom studija je povremeno dolazio u Sara- Sarajevo and worked for the construction com-
jevo i radio u građevinskom poduzeću ”Rad” pany “Rad”. By 1934 he had accumulated more
te do 1934. godine nakupio više od tri godi- than three years of employment. He worked on
ne takvoga rada. Radio je na različitim gradi- a number of construction projects and partici-
lištima i sudjelovao u projektiranju gradske pated in the design of the city hospital in Brčko,
bolnice u Brčkom, općinskih ureda, stanova i municipal offices, apartments and customs
zgrade carinarnice u Metkoviću, zgrade Deutz buildings in Metković, the Deutz and Benau
i Benau i kuće Radulović u Sarajevu, armirano- Building and the Radulović house in Sarajevo,
betonskih mostova u Bihaću, Tuzli i Mostaru. and reinforced concrete bridges in Bihać, Tuzla
Također je sudjelovao u natječaju za projekt and Mostar. He also participated in the archi-
Palače Burze u Beogradu. tectural competition for the design of the Ex-
change Building in Belgrade.
2. RAZDOBLJE 1935.-1941.
2. PERIOD 1935-1941
Kao mladi arhitekt, koji se upravo vratio u
svoj rodni grad, pun entuzijazma i novih ide- As a young architect, who had just returned to
ja, Reuf Kadić je bio sretan i odmah je našao his home town full of enthusiasm and fresh
poslodavca s velikim razvojnim planovima i ideas, Reuf Kadić was fortunate enough to im-
gotovo neograničenim opsegom rada. To mu mediately find an employer with big develop-

27

u isto vrijeme poštujući tradici. U svom practise his newly acquired knowledge and to je radu Reuf Kadić dosljedno primjenjivao quickly obtain the necessary hands-on experi- svoje shvatanje principa evropske moderne ence in applied architecture. sadašnja Bolnica za plućne bole- sti. for religious purposes were community mosques rajevu. bio je Sirotište and maktabs (elementary Islamic schools). Arhitektonska je vrijednost ovoga objekta The first large institutional project in Sarajevo. godine su završeni Đački dom/ same time. about fifty Vakuf projects throughout Bosnia ske objekte. About the skije.1. was Podhrastovi Orphan- like u isto vrijeme izgrađena je i stambena age. In his architectural arhitekture. This provided him with an opportunity to iskustvo u primijenjenoj arhitekturi. completed in 1938. Reuf Kadić designed and completed nijih graditelja i investitora u svjetovne i vjer. currently the Hospital for Lung Diseases. portant residential. izvanredno tions. Retirement Fund. WORK AT THE VAKUF (WAQF) u Vakufskoj direkciji projektirao i realizirao DIRECTORATE oko pedeset vakufskih objekata širom Bosne i Hercegovine. Reuf Kadić consistently followed his un- onalne domaće arhitektonske i urbanističke derstanding of the principles of European mod- vrijednosti. Reuf Kadić je u nepunih sedam godina rada 2. Otpri. The džamije i mektebi (škole za osnovno vjersko projects included an impressive number of im- obrazovanje). At that time. at the same time respecting ne na naše prostore. His contribution to the establishment of značajan. poslovnih i instituci. work. Najveći broj objekata izgra. najviše u Sarajevu. godine. the domestic architectural and land-use tradi- likoga broja realiziranih projekata. ern architecture. umanjena poslijeratnim dogradnjama. Podhrastovi. commissioned by the IVZ ulice. In 1939 jekt koji je u arhitektonskom smislu praktično followed the Hurijet student residence at the 28 . rectorate. was also completed. diminished by post-WWII additions. Vakufska di. 1939. Most of the projects built Njegov prvi veliki institucionalni projekt u Sa. one of the most significant investors and build- đenih za vjerske namjene bile su područne ers of both secular and religious buildings. Sarajevo. a residential building on Mula-Mus- internat društva Hurijet na vrhu Pehlivanuša tafa Bašeskija Street. je dalo priliku da počne upotrebljavati svoje ment plans and an almost unlimited amount of novonaučeno znanje i brzo stekne potrebno work. even more so because of such a large 2. RAD U VAKUFSKOJ DIREKCIJI number of realized projects. sadašnja osnovna škola i još jedan pro. zgrada Penzionoga fonda službenika Islamske The architectural value of this building was vjerske zajednice u ulici Mula Mustafe Baše. In less than seven years of work at the Vakuf Di- rekcija je u to vrijeme bila jedan od najznačaj. Njegov je prilog prodoru Moder. završen 1938. pogotovo zbog tako ve. Ti projekti su uključivali zavidan and Herzegovina. commercial and secular in- stitutional buildings. the Vakuf Directorate was onalnih zgrada. Moderna in Bosnia and Herzegovina is very sig- nificant. a major portion of them in broj važnih stambenih.1.

Sirotište Podhrastovi u gradnji 1937. snimci iz 2006. post-war additions Sirotište Podhrastovi. sada Klinika za plučne bolesti. now Hospital for Lung Diseases. photos from 2006 29 . poslijeratna dogradnja Podhrastovi Orphanage during construction in 1937 Podhrastovi Orphanage. godine Sirotište Podhrastovi. Podhrastovi Orphanage.

Bašeskije IVZ Retirement Fund building. current view 30 . ulica Miss Irby ulica M. Stambena zgrada Penzionog fonda IVZ. M. built in 1939. Miss Irby Street IVZ Retirement Fund building.M..M. izgrađen 1939. Bašeskija Street Đački dom Hurijet. Stambena zgrada Penzionog fonda IVZ. sadašnji izgled Hurijet student residence.

izgrađen 1939. built in 1939. devastated in the recent war Đački dom Hurijet. sada obnovljen kao socijalna ustanova izgled zgrade Maktab on Pehlivanuša Street. Additions completely changed its original appearance 31 . Dogradnje su potpuno izmijenile prvobitni Mekteb na Pehlivanuši.. now rebuilt as a social services centre Hurijet student residence. front view according to original design u nedavnom ratu Maktab on Pehlivanuša Street. potpuno devastiran Hurijet student residence. glavno pročelje prema izvornom projektu Mekteb na Pehlivanuši.Đački dom Hurijet.

After that came the very im- tiran je i jedan malen ali interesantan vjerski portant residential/commercial Vakuf Čokadži objekt. je započet i the corner of Ferhadija and Čemaluša Streets projekt stambeno-poslovnog kompleksa i ne. also included a residential building on Muvekita ske namjene vrijedno još spomenuti džamiju Street and the reconstruction of the Vakuf Direc- i mekteb u Hrasnu. In 1939. Čaj. design dija ulici. godine projek. its construction i vakufska stambena zgrada u Muvekita ulici began in 1940. godine. 1939. Te je godine top of Pehlivanuša Street. Outside Sarajevo. niću i drugdje. Trnovu. etc. OTHER PRE-WWII PROJECTS ne druge projekte.. godine urađeni su skyscraper on Ferhadija Street. in Bugojno. This project has an interesting te rekonstrukcija zgrade Vakufske direkcije u history (see later). completely devastated in the recent war. one more residential building was con- na zgrada Vakufa Čokadži hadži Sulejmana na structed for the IVZ Retirement Fund. uništen kasnijim preuređenjima. on Miss Irby Street. the mosque and maktab in Izvan Sarajeva. The same ulici. another project ar- izgrađena i još jedna stambena zgrada Penzi. Of the religious buildings.2. Gradnja je tog objekta počela 1940. Taj projekt ima zanimljivu povijest Kemaludin residential and office building and (vidi poseban osvrt). a njeno građenje Vakuf Hovadža Kemaludin (Mekteb) Building at početkom 1940. The de- njih ulica Ferhadije i Čemaluše dovršen je u sign of the avant-garde residential/commercial lipnju (junu) 1939. Suradnja je Along with his work for Vakuf. 1940. typical Moderna style complemented the Hurijet gardne stambeno-poslovne zgrade Vakufa complex exceptionally well. mekteb preko puta đačkoga doma hadži Sulejman Building on Republic of Austria Hurijet. Trnovo. a small but interesting build- Moderne koja je izvrsno komplementirala ing was also designed. a onda i vrlo značajna stambeno-poslov.2. In 1939. Taj je objekt potpuno devasti. Uz rad u Vakufu. 2. some of them va diplomiranja i povratka sa studija u lipnju alone and some in cooperation with his brother 32 . work was also started on the Vakuf Hovadža godine. u Bugojnu. Od objekata je za vjer. This tiny building in ran u nedavnom ratu. year. 1939. ova u Miss Irby and currently an elementary school. a maktab across from the đačkom domu. godine. vakufski su projekti uglavnom bili za vjerske namjene. the Vakuf projects were mainly re- 2. Reuf Kadić je uradio i broj. zgrada čistih formi u tipičnom stilu Square. Projects carried out in 1940 ulici Zelenih beretki. Šamcu. ried out numerous other projects. Šamac. Hrasno are also worth mentioning. and its construc- bodera Vakufa Kovadža Kemaludina u Ferha. Čajniće. tion finished in early 1940. a neke u suradnji s bratom Muhamedom. chitecturally devalued by subsequent changes onoga fonda službenika IVZ. This structure was Hovadža Kemaludina (Mekteb) na uglu današ. Izvedbeni projekt avan. neke samostalno. DRUGI PREDRATNI PROJEKTI ligious buildings. torate Building on Zelenih beretki Street. Hurijet student residence. was completed in June 1939. Reuf Kadic car- s Muhamedom učestala nakon Muhamedo. this one Trgu Republike Austrije.

a Reuf je još bio zaposlen u Vakufu. less zajednički. importantly. about the extent of each brother’s contribution in these joint projects. a family house on Hadži Idriz Street. godine Reuf Kadić je pozvao because the project was Vakuf’s and Reuf was Muhameda da mu se pridruži kao partner u at that time still working for Vakuf. godine projektirana su dva registered under the name Brothers Kadić. što je u biti from studies in June of 1939. zgrada Ćurčić u Ćemerli- ni i zgrada Kapetanović u Logavina ulici. privatne stambene Reuf’s projects include: the Kajtaz House on zgrade u Prijepoljčevoj ulici i Kečinoj ulici. objekta od izuzetne vrijednosti: obiteljska kuća Kopčić u ulici Safvet-bega Bašagića i zgra. ment buildings on Prijepoljčeva Street and uraciju i nadogradnju hotela Zagreb. which was never built due to WWII. izradili idejni projekt za architectural competition for design of the Ibn poslovno-stambenu zgradu Zadruge Spas u Pajko apartment block in Skopje. Izvedbeni je projekt te zgrade radio After another successful competition. koji nije realiziran zbog rata. nakon još jednog The brothers won the third place award at an uspješnog natječaja. stambene zgrade. Unfortunately. i 1940. treću nagradu. This. manje važno. i resta. Također su. private apart- obiteljsku kuću u Hadži Idrizovoj ulici. Nažalost. they com- inženjer Pavlin. njegovu nešto ranije osnovanom projektnom uredu i službeno preknjižio ured pod imenom At the beginning of 1940. the Ćurčić House on Ćemerlina bene zgrade Ibn Pajko u Skoplju dobili su Street and the Kapetanović House on Logavina. ali je competition-winning design for the large com- to malo vjerojatno jer je taj projekt bio vakuf. Pavlin). pleted the preliminary design for the Spas Co- stvo u prvo-nagrađenom natječajnom rješe. Na Considered as joint work are two smaller apart- arhitektonskom natječaju za projekt stam. Hamdija Kreševljaković Street.(junu) 1939. operative Building in Sarajevo (detailed design nju za veliki stambeno-poslovni blok Tašlihan by Eng. ment buildings. mercial and residential Tašlihan Block in Sara- ski. o tome koliki je bio pojedinačni it appears that there are no indisputable data udio braće u projektima koji se navode kao about which projects were done jointly and. Kečina Street. Macedonia. Cooperation with Muhamed became postoje nesporni podatci o tome koji su sve more frequent after his graduation and return projekti rađeni u koautorstvu te. Reuf invited Mu- Braća Kadić. is unlikely the work of both brothers Početkom 1940. and the restoration and reconstruction Kao zajednički rad navode se dvije manje of Hotel Zagreb. jevo. however. Two projects of exceptional value were realized da Mirovinskoga zavoda na uglu ulica Maršala in 1939 and 1940: the Kopčić family house on 33 . Reufovi projekti uključuju kuću Kajtaz u ulici Hamdije Kreševljakovića. Sarajevu. Negdje se navodi i koautor. hamed to join him as a partner in his previously opened architectural firm. godine. izgleda da ne Muhamed. and had the office re- 1939. Some sources also list as joint a u Sarajevu.

Stambena zgrada Ćurčić The Ćurčić House Stambena zgrada Kapetanović The Kapetanović House 34 .

-1950. Ti projekti spadaju u anto. Mu- đevinskom poduzeću Zubić. but also designed one noteworthy building. the Zubić House on Mirogojska Cesta Neposredno nakon rata Reuf Kadić je prešao in Zagreb. Prvi mu je zadatak bio vođenje obnove prometnica na području Immediately after the war. construction. WAR PERIOD 1941-1945 novim vlastima. a druge na Marindvoru. Mehmed- benih zgrada u Sarajevu. he mainly worked in 4. Saletović Mercantile Building in Vareš. POST-WAR PERIOD 1945-1950 srpnju (julu) 1945. a najznačajniji projekt armiranobe. problems with the new administration. a Reuf u kolovozu (augustu) became too exposed in the relatively small 1942. kamo se vratio u 4. During the remainder of the war. Both of them were de- tained twice as hostages of the German Army. for the Zubić Construction Company.-1945. ali je 1942. projektirao i jednu značajnu zgradu. and two residential buildings in Sarajevo. and it was suggested that they leave town. the other on Marin- dvor. Moderna in Bosnia and Herzegovina. obitelj- sku kuću Zubić na Mirogojskoj cesti u Zagre. Reuf Kadić started Jablanice. The šeni kao taoci njemačke vojske te im je suge. Reuf je otišao u Varaždin i zaposlio se u gra. Hrvatske. trgo. These build- Mehmed-paše Sokolovića u Višegradu. Safvet-beg Bašagić Street and the Retirement logijske primjerke predratne Moderne u Bosni i Foundation Building at the corner of Maršal Hercegovini. Dolazak rata uzrokovao je gotovo trenutni prekid rada na novim projektima i probleme s 3.Tita i Hamze Hume. Sarajevo of that time. one on Ham- 3. godine. koji je iz. Do kraja rata je hamed did this in March and Reuf in August of uglavnom radio na izvođenju gradnji. godine. RAZDOBLJE RATA 1941. jedne u ulici Hamdije paša Sokolović Dom (Centre) in Višegrad. working in the Ministry of Construction of the tonski most preko rijeke Doljanke. then volunteered to work građen u rekordnom roku. ings are anthological examples of pre-war vačke zgrade Saletović u Varešu i dviju stam. Republic of Croatia. which was built in typical Moderna na rad u Ministarstvo građevina Republike style. Braća Kadić su već ranije obi- lježeni kao liberalno orijentirani intelektualci The arrival of war caused almost immediate i zbog toga su u relativno malom Sarajevu bili cessation of work on new projects as well as previše uočljivi. the Kreševljakovića. Kadić brothers had earlier been labelled as lib- rirano da odu iz grada. a potom se ponudio za dobrovolj- ni rad u Bosni i Hercegovini. Nakon toga je radio in Bosnia and Herzegovina and returned there 35 . izgrađenu u tipičnom stilu Moderne. PORAĆE 1945. Obadvojica su dva puta hap. dija Kreševljaković Street. Muhamed je to uradio erally-oriented intellectuals and consequently u ožujku (martu). Reuf moved to Varaždin in Croatia and worked bu. are also from this period. Iz tog vremena su i projekti Doma Tito and Hamza Humo Streets.

Obiteljska kuća Zubić u Zagrebu The Zubić House in Zagreb. Croatia 36 .

Most preko rijeke Doljanke u Jablanici Bridge over the Doljanka River in Jablanica 37 .

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

Stambeni blokovi u ulici Branilaca Sarajeva Residential blocks on Branilaca Sarajeva Street 39 .

Zgrada Vijeća 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 .

decision. I had the proud privilege of hearing tributes from his former students. Other Sarajevo projects from this period are: ćima a onda i u Ilijašu i drugim mjestima. To je na neki način. successful architect and practitioner who over- liko god je tom promjenom dobilo tehničko night became an educator of future profes- obrazovanje. at least on the outside. The design of this build- bila zadnji u nizu događaja koji su doveli do ing included some elements which reflected the njegove odluke da ubrzo nakon toga napusti then dominant preference for socio-realistic ar- arhitektonsko projektiranje. agricultural buildings in Kupres and Prnjavor. Yet he was very successful in his new tektura u Bosni i Hecegovini. ko. Hotel Europa. Bila je to radikalna promje. decided to resign from the Institute for Design. uspješan. lučio prestati raditi u Zemaljskom projek- tantskom zavodu. work. Outside Sarajevo. At the end of the summer of 1950. Vrlo Reuf Kadić project was the Dom Kulture (Cul- je vjerojatno da je ova nametnuta promjena tural Centre) in Mostar. označilo ra- stanak Reufa Kadića s njegovim dotadašnjim In this period. soon after that. tect. Prešao je u sarajevsku Gra. za izgradnju radničkih naselja prvo u Banovi. Malo je vjerojatno da je to architectural education. It is quite possible that this forced change was the last in a series of events that led to his Krajem ljeta 1950. He moved to the Technical Middle School in tičar takoreći je preko noći postao odgojitelj Sarajevo to become the school’s principal and novih stručnjaka. samostalno prize). te the Unions Council Building. Reuf Kadić ske konstrukcije. Sa svoje Herzegovina. chitecture. and competition design for a new clinical wing in the city hospital (second U ovom je razdoblju posljednji. it resulted in at least as bila zasićenost projektantskim radom ili da ga big a loss to creative architecture in Bosnia and je napustila njegova kreativna muza.-1974. Vrlo akivan i uspješan projektant i prak. Godinama sam s ponosom slušao This was a radical change -. to stop designing. na. In some way.a very active and pohvale njegovih bivših učenika. that project marked Reuf Kadić’s parting with his life-long convictions as a Moderna archi- 5. dences in Banovići. the design of a u Mostaru. 42 . the last individually designed životnim uvjerenjem arhitekta Moderne. Pa ipak. and nirajuću naklonost socrealističkoj arhitekturi. Nevertheless. 5. renovation of gospodarski objekti na Kupresu i u Prnjavoru. toliko je izgubila kreativna arhi. Rješenje ovoga objekta uključilo je standardized 4-unit house used for worker resi- neke elemente koji su odražavali tada domi. as much as this change benefited lo na takvu odluku. Ilijaš and other towns. Može se samo nagađati o tome što ga je nave. the projects included: urađen projekt Reufa Kadića bio Dom kulture residential buildings in Foča. For many years. sionals. I u novom radu je bio vrlo lecturer on the subject of building structures. RAZDOBLJE 1950. PERIOD 1950-1974 đevinsku srednju tehničku školu na mjesto direktora i predavača za predmet Građevin. bar izvana. godine Reuf Kadić je od.

nedavno o tome razgovarao s poznatim arhi. The kraćega razmišljanja i konzultacija s porodi. odlučio se ostati u Bosni i a visiting lecturer at the University of Zagreb’s Hercegovini. Faculty of Architecture. my impression ne jednoga.42 godine bio je još uvijek relativno mlad i One can only speculate as to what prompted na vrhuncu svojih kreativnih mogućnosti. godine ponuđeno mu je da prijeđe na award for the conceptual design of residential rad u Zagreb na mjesto tehničkoga direktora u high-rise buildings/towers. Kadić remained in technical education until šenja na republičkom natječaju za projekte 1963. he decided to re- U ovom su razdoblju interesantni njegovi po. tion of this opportunity and consultation with family members and friends. or that his creative muse had left društvene prilike. republičkoj Nadzornoj službi za investicionu izgradnju. move to Zagreb. From today’s gledi o tadašnjim problemima u projektiranju perspective. he was offered the opportunity to vača na Arhitektonsko-građevinsko-geodet. on mi je rekao: ”Znate. the renowned utisak da Reufa sve to više nije interesiralo. It is unlikely that he was tired of je vjerojatno da su ga na to navele tadašnje designing. to je vjerojatno bila pogreška. imao sam when we discussed this subject. Poslije rector of a large construction company. koji externally imposed limitations on creativity and je na početku karijere jedno vrijeme radio s lack of money. enough of the “battles with windmills” and chi- canery of some of those who at that time. 43 . stambenih tornjeva/solitera. In 1958. Recently. Reuf Kadić je ostao u obrazovanju Except for a stint of a year and a half in the con- sve do 1963. Aranžman je trebao uključiti i položaj gostujućega preda. istina malog dijela onih koji su was that Reuf had lost interest in all that. godine. in Uz dva prekida. main in Bosnia and Herzegovina. including my father’s. većoj građevinskoj organizaciji. Kad sam young and in his creative prime. aside from participating in an architectural competition in the late 1950s. is quite possible that Reuf Kadić also had had vali o ljudskim sudbinama pa i o njegovoj. Nije se bavio projekti. who Vjerojatno je Reufu Kadiću već bilo dosta i at the beginning of his career worked with my ”borbe s vjetrenjačama” i šikaniranja od stra. Više this decision. During this time he did no designing. the environment of the time. arrangement was to also include a position as com i prijateljima. as the technical di- skom fakultetu Sveučilišta u Zagrebu.” architect and academician Zlatko Ugljen.” It tada unatoč njihovu mediokritetstvu odluči. osim što je krajem pedesetih godina in the state Inspectorate for Construction. Reuf dobio nagradu i otkupljena su mu idejna rje. After brief considera- ve. osamnaest mjeseci rada na spite of their mediocrity. There he won an 1958. he was still relatively projektnih ograničenja te besparica. mojim ocem. Gledajući iz sadašnje perspekti. father. were deciding peoples’ izgradnji Željezare Ilijaš te oko dvije godine u destinies. a combination of tektom i akademikom Zlatkom Ugljenom. said to me: “You know. struction of steel mills in Ilijaš and two years ranjem. More probably. this was probably a mistake. led to his resignation. Croatia. kombinacija nametnutih him. At the age of 42.

Studija idejnog projekta stambenog tornja/
solitera
Conceptual design study for residential
high-rise building/tower

Nagrađeni idejni projekt stambenog tornja/
solitera
Award-winning conceptual design of residential
high-rise building/tower

44

i građenju, kao i o mogućnostima rješenja tih Also interesting in this period were his reflec-
problema, koje je iznio početkom 1962. go- tions on the contemporary problems in design
dine kao član komisije za Savjetovanje o pro- and construction, and on the possibilities for
jektiranju, održanom u Sarajevu. Reuf Kadić their resolution, which he presented at the
je tada predlagao nekoliko u to vrijeme vrlo beginning of 1962 in Sarajevo. He proposed
progresivnih i budućnosti okrenutih rješenja, several very progressive and visionary actions,
uključujući otvaranje tada nedopuštenih pri- including the formation of private design of-
vatnih projektantskih ureda. Također je pred- fices, which were at that time banned. The pro-
ložio komercijalizaciju i formiranje slobod- posals also included the commercialization of,
noga tržišta projektnih i izvođačkih usluga te and open market for, design and construction
poticanje inovacije u proizvodnji materijala i services, and the stimulation of innovation in
opreme. the production of construction materials and
equipment.
Reuf Kadić je 1963. godine iz Građevinske
srednje tehničke škole prešao u Energoinvest, In 1963, Reuf Kadić left the Technical Middle
u Službu za nadzor i investicije, a 1965. go- School and moved to Energoinvest Corpora-
dine postaje direktor za kapitalnu izgradnju tion’s Directorate for Investment and Inspec-
banjalučke Tvornice celuloze i viskoze. tion. In 1965, he assumed the position of man-
aging director for Capital Assets Construction
Po umirovljenju 1967. godine pa sve do at the Cellulose and Viscose conglomerate in
iznenadne smrti 1974. godine, povremeno Banja Luka.
se bavio arhitekturom, uglavnom na reviziji/
pregledu arhitektonskih projekata. Uradio je After retiring in 1967, until his sudden passing
i tri manja projekta, vikendicu obitelji Taso u in 1974, he occassionally engaged in profes-
Faletićima kod Sarajeva, kuću obitelji Sečen i sional work, mostly the review of architectural
vlastitu kuću za odmor, obje na otoku Murteru projects. He designed three smaller houses, the
u Hrvatskoj. Također je pisao i gotovo završio Taso family cottage in Faletići near Sarajevo,
knjigu o građevinskim konstrukcijama koja, the Sečen house and his own house, both on the
nažalost, nikad nije objavljena. island of Murter in Croatia. He also wrote and
nearly completed a book on building structures
which, unfortunately, was never published.

45

Vakuf Čokadži hadži Sulejmana, snimak iz 1939.
Vakuf Čokadži hadži Sulejman, photo from 1939

46

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

-1985.-1985 48 . photos from 1970. snimci iz 1970. Vakuf Čokadži hadži Sulejman.Vakuf Čokadži hadži Sulejmana.

1939. Osta. zgrade je drugi.Vakuf Čokadži hadži Sulejmana Vakuf Čokadži Hadži Sulejman (Chokadji Hadji Suleyman) Projektiranje ove zgrade počelo je u jesen The design of this building began in the fall 1938. have large glassed-in corner loggias and this. stvara dojam lebdećega kubusa. Built at the foot of Bistrik district. Atop the krova čije kontinuirane linije čelične ograde main cube is the second. used for the first ment u kasnijim projektima Reufa Kadića. smaller cube compris- dalje doprinose dojmu prozračnosti cijeloga ing the top floor and the roof. smješten na početku Bi. of airiness. 49 . day’s Republic of Austria Square. on to- strika na sadašnjem Trgu Republike Austrije. postale su često upotrebljavan ele. Dvije natprizemne etaže imaju modularly well-balanced. u kombi. War II. naciji s uvučenim i u velikoj mjeri ostakljenim in combination with the recessed and predomi- prizemljem. manji kubus trećega kata i are continuous rows of large windows. Zgrada je vrlo skladnoga oblika i modularno The building is very harmonious in form and ujednačena. Izvanredna uklopljenost svih eleme. this structure vjerojatno je jedan od najuspješnijih projeka. The glassed-in loggias. impression of a levitating building cube. nantly glass-walled ground floor. On vi su velikih prozora. highlighted by objekta. project. between the corner loggias. The two upper floors velike ostakljene ugaone lođe i to. became a frequently-used element in the subsequent works of Reuf Kadić. time in this building. godine. lines of steel railing that add to the impression nata karakterizira ovaj izuzetni projekt. is probably one of the most successful Moderna ta urađenih u Sarajevu u stilu Moderne prije projects completed in Sarajevo before World Drugoga svjetskog rata. An excellent interrelation of all the kljene lođe. creates an Između ugaonih lođa glavnoga pročelja nizo. Iznad glavnoga kubusa the main facade. primijenjene prvi put na ovom building elements characterises this exceptional objektu. a njena je gradnja završena of 1938 and its construction was finished in 1939. Taj objekt.

Vakuf Hovadža Kemaludin (Mekteb). photo from 2010 50 . snimak iz 2010. Vakuf Hovadža Kemaludina (Mekteb).

Čistoća linija i uvođenje roundings. zelene keramike na fasadi. natural illumination of the interior spaces. godine. Also used were the characteristic rows of kih prozora koji omogućavaju dobru prirodnu continuous large windows that ensured good osvijetljenost unutrašnjih prostora. (oriel). ali on bez sumnje spada među njegove tention. Projek. očito je Bašeskija Street. kuće i kasnije je često upotrebljavan. podignute na uglu uli. ceramics. I ovdje su upotrijebljene ostakljene ugaone Glassed-in corner loggias were used in this lođe te konzolno istaknuti dijelovi zgrade project as well. was com- (junu) 1939. The tant je ekonomično i majstorski iskoristio vrlo architect masterfully utilized the very limited ograničen raspoloživi prostor i izvanredno se site and incorporated the building into its sur- uklopio u okolinu. and the introduction of a new material. on the exterior further enriched the project. was obviously inspired by a inspiriran elementom tradicionalne bosanske feature typical of traditional Bosnian houses. 51 . The cleanness of the building’s lines novoga materijala. pleted in June of 1939. koji je Reuf Kadić prvi put primi. This Reuf Kadić project was not given much at- salo. well. green dodatno su obogatili ovaj objekt. This second element pomolak). Projekt ove successful avant-garde works. Ovaj drugi element (erker. along with cantilevering of the iznad prizemlja. built at the corner ca Ferhadije i Čemaluše. which Reuf Kadić first utilised on the jenio na zgradi Penzionoga fonda službenika IVZ Retirement Fund Building on Mula Mustafa IVZ u ulici Mula Mustafe Bašeskije. building’s upper floors. Također It was often repeated in his later projects as su upotrijebljeni i karakteristični nizovi veli. The design of relativno male zgrade. završen je u lipnju of Ferhadija and Čemaluša Streets.Vakuf Hovadža Kemaludina Vakuf Hovadža (Hovadja) Kemaludin (Mekteb) (Mekteb) O ovom se projektu Reufa Kadića malo pi. but it is without doubt among his most najuspjelije avangardne radove. this relatively small building.

Vakuf Hovadža Kemaludin (Mekteb). photo from 1939 Vakuf Hovadža Kemaludina (Mekteb) Vakuf Hovadža Kemaludin (Mekteb) 52 . snimak iz 1939.Vakuf Hovadža Kemaludina (Mekteb).

snimak iz 2010. Vakuf Hovadža Kemaludin (Mekteb). photo from 2010 53 .Vakuf Hovadža Kemaludina (Mekteb).

photo from 2006 izvornom projektu Vakuf Hovadža Kemaludin (Tower). depiction of the front view according to original design 54 . snimak iz 2006. slika pročelja prema Vakuf Hovadža Kemaludin (Tower).Vakuf Hovadža Kemaludina (Neboder). Vakuf Hovadža Kemaludina (Neboder).

Ukupna visina 15-katnog nine storeys. bio vrlo zahtjevan pothvat. The con- 1940. godine i do rata su završeni grubi rado. izgrađenog The design of this complex. taj je projekt napušten u poslijeratnim radovima pa The base section was built before the war in ac- je toranjski dio zgrade završen bez dva zadnja cordance with the original design. tokom se poslijeratnog dovršenja Unfortunately. responsibility for completion of the project was given to another architect. and a mechanical room for elevators and other equipment on the roof. 55 . Možda su te promjene urađene zbog without the two top floors. and drugom arhitektu. area.Poslovno-stambena zgrada i nebo. ably intended to be the architect’s crowning tova rada za Vakufsku direkciju. Time je zgrada snižena za oko 10 work and the tower section was completed metara. kata. That design. the construction was extended and do njenog završetka 1947. Because gradnja produžila pa je trebalo sedam godina of the war. u skladu s izvornim projektom. mechanical room was moved inside the tower. Kemaludin – Residential and der vakufa Hovadža Kemaludina Office Building and Tower Projektiranje je ovoga kompleksa. each with 160m2 of gross floor tornja trebala je biti blizu 60 metara. built on Ferhadija u Ferhadija ulici. započeto 1939. Reuf Kadić was excluded from any par- će se uraditi i završetak je projekta povjeren ticipation when these changes were made. the first six floors had been raised. a strojarnica je premještena u unutraš. when war broke vi na prizemlju i prvih pet katova. Vakuf H. te sa strojarnicom za dizala i druge it was to be an office tower with an additional uređaje na krovu. began in 1939. It was pa i za tadašnje jugoslavenske prilike to je a very demanding undertaking for Sarajevo. trebalo izgraditi niži razvedeni dio zgrade s prizemljem i pet According to its original design. struction started in 1940 and. doned during the post-war completion work ski dio objekta upropašten u arhitektonskom and the tower portion of the complex was de- i vizualnom smislu. This project was prob- jekt je vjerojatno trebao biti vrhunac arhitek. svaki površine ground floor and five additional storeys. Gradnja je počela and even for the country. was abandoned during the post-war njost tornja. Prema izvornom je projektu. the structure katova. a na to se trebao nadovezati poslovni was to have a broad base consisting of the toranj s dodatnih devet katova. took seven years until completion in 1947. Above 160 m2. ili pak zato što je tada mož. Zbog rata se out. however. Pro. Pri tome je Reuf Kadić bio stroyed in both the architectural and visual potpuno isključen iz odlučivanja o tome što senses. The total height of Niži dio zgrade je izgrađen prije početka rata the 15-storey tower was to be nearly 60 metres. Street. In addition. Za sarajevske achievement with the Vakuf Directorate. Međutim. the pomankanja novca. Nažalost. the original design was aban- odstupilo od izvornoga projekta te je toranj. at that time. godine. godine.

Sve to i ne bi bila velika tragedija da su pro. Izgubljeni su gotovo svi atribu. The original de- niranih balkona i terasa i smanjenje gabarita sign. be visually up-to-date. utes were lost and a strange-looking. These changes may have been adopted because of a lack of money or. because it was at that time politically mjene projekta završile na ovome i da su inopportune for Sarajevo to be the first city in zadržani početno predviđeni arhitektonski the former Yugoslavia with such a “prestigious” elementi. retained. a number of originally un- planned balconies and terraces were created Vrlo je vjerojatno da je ovo arhitektonsko na. i od toga se odstupilo. changed design. bio vi. seventy ti Moderne i pojavila se zbunjujući neorgani. Izvorno projektiran toranjski kubus čistih lini- ja. da bilo politički nepoželjno da Sarajevo prvo Consequently. if project changes had stopped there and if zualno suvremen. the structure became about u zemlji ima jednu tako ”prestižnu” građevinu. Sadly. and the floor area of the upper three storeys silje razočaralo i povrijedilo Reufa Kadića i was reduced. 10 metres “shorter”. Almost all of the Moderna attrib- vjerojatno doprinijelo njegovoj odluci da na. other original architectural elements had been jekt je uključio i dodavanje početno nepla. confusing pusti projektiranje. years later. istic corner windows. a simple clean-line cube with character- zadnja tri kata. But it was not to be. promijenjeni pro. s karakterističnim ugaonim prozorima čak All this would not have been such a tragedy bi i sada. Nažalost. Međutim. sedamdeset godina kasnije. and disorganized creation emerged. possibly. in the zirana kreacija čudnoga oblika. and likely contributed to his decision to stop design work. structure. would even now. 56 . It is very probable that this architectural brutal- ization disappointed and wounded Reuf Kadić.

Vakuf Hovadža Kemaludina (Neboder). original front view drawing 57 . godine izvorni nacrt pročelja Vakuf Hovadža Kemaludin (Tower). Vakuf Hovadža Kemaludina (Neboder). u vrijeme gradnje 1940. during construction in 1940 Vakuf Hovadža Kemaludin (Tower).

godine Vakuf Hovadža Kemaludin (Tower). Vakuf Hovadža Kemaludina (Neboder). u vrijeme gradnje 1940. during construction in 1940 58 .

Vakuf Hovadža Kemaludina (Neboder). u vrijeme gradnje 1941. godine Vakuf Hovadža Kemaludin (Tower). during construction in 1941 59 .

60 .

Nenametljivo se uklapa u and blends unobtrusively into its surround- okolinu s kojom čini jednu cjelinu. levered upper floor. cessful utilization of locally available materials Uspješna upotreba domaćih materijala svje. Elements of a traditional Bosnian house. with its adjoining walled courtyard and canti- cionalne bosanske kuće s pripadajućim ogra. estingly designed railing on the open side. contemporary use. Suc- tnim rješenjem ograde neostakljenoga dijela. Objekt je vrlo skladno i uspješ. vjerojatno je jedna od naj. This house. Moderna style. again illustrates the architect’s expertise. beg Bašagić Street. The upper floor includes a prizemnim dijelom. izgrađena u ulici Safvet-bega Baša. 61 . are masterfully adapted for đenim dvorištem i konzolno istaknutim nat. Majstorski ings. built in 1939 on today’s Safvet- gića 1939. su osuvremenjeni i uklopljeni elementi tradi. doči o stručnosti autora. It is pleasantly proportioned no proporcioniran.Kuća obitelji Kopčić Kopčić Family House Ova kuća. is probably one of the most uspjelijih malih kuća izgrađenih u Sarajevu u successful small houses built in Sarajevo in stilu Moderne. godine. I ovdje je upotrijebljena partially glassed-in corner loggia with an inter- dijelom ostakljena ugaona lođa s interesan.

Kuća obitelji Kopčić u vrijeme gradnje 1939. The Kopčić House during construction in 1939 62 .

snimci iz 2010.Kuća obitelji Kopčić. The Kopčić House. photos from 2010 63 .

64 .

istočno i simplicistički riješeno sjeverno. on most of the facade. razigrano the spirited east and the simplistic north. rows of large windows. this shall soon be 65 . cantilevered upper floors. Kompleksna lokacija na široko otvorenom raskrižju. ovaj put smeđe. There is an open water- no preko puta. čita ali komplementarna pročelja. tion near several important landmarks from noga vodotoka i zelene površine neposred. which was sub- istočno pročelje. Although structurally the building remains in Iako je zgrada konstrukcijski u dobrom stanju. konzolno istaknut natprizemni dio zgrade. and roof ter- dijelu fasade. sve zavidno races. smještenu na uglu The Kadić brothers designed this building. zatim nizove velikih prozo. This unique site demanded that the designers zgrade u njenu okolinu. na većem time brown. In this they succeeded exceptionally well. All of these elements are skilfully combined skladno uklopljeno u dva međusobno razli. ings. godine. needs pretrpjelo znatna oštećenja. on the two different but complementary facades. zahtijeva hitnu urgent restoration. the finest and most significant achievements of pre-war Moderna in Bosnia and Herzegovina. this upotrebu keramike. open intersec- iz različitih vremenskih razdoblja te otvore. The building itself contains some of the best tektonskih elemenata iz ranijih projekata: architectural elements from earlier designs: ostakljene uglove. pro. ceramic surfaces. shape of the building. good condition. Sama zgrada ima neke od najboljih arhi. Hopefully. sadašnjih ulica Maršala Tita i Hamze Hume. located at the corner of the current Maršal jektirali 1940. the east facade. godine. a završena je krajem construction started in June of 1941 and the 1942. zasigurno ima antologijsku vrijednost i jedno je This residential and commercial project is of od najznačajnijih i najkvalitetnijih dostignuća unquestionable anthological value and one of predratne Moderne u Bosni i Hercegovini. u blizini nekoliko važnih objekata The building sits on a complex. ovaj put lučne u skladu s glassed-in corners. koje je tokom zadnjega rata stantially damaged during the last war. in 1940. zahtijevali su od projektanata way and green space immediately across from puno senzibiliteta za rješavanje uklopljenosti it. tektonski najuspješnije riješenih sarajevskih laying the foundation for one of most architec- uličnih križanja. Gradnja zgrade započe. te krovne terase. U svojem su rješenju be particularly sensitive to the importance of projektanti izvanredno uspjeli zadovoljiti ovaj incorporating the building into its surround- zahtjev i time položili temelj za jedno od arhi. The ta je u lipnju (junu) 1941. this time arced to follow the oblikom zgrade. various historic eras. Taj stambeno-poslovni objekt building was completed at the end of 1942. ra.Zgrada Mirovinskoga zavoda Retirement Foundation Building Braća Kadić su ovu zgradu. turally successful intersections in Sarajevo. Tito and Hamza Humo Streets.

this building was officially declared a protected national monument of Bosnia and Taj je objekt u svibnju (maju) 2008. Detalj ulaznih vrata u zgradu Detail of the main entrance door 66 . In May 2008. restauraciju. part of the original design but never installed. a nikad instalirana dizala u zgradi. proglašen zaštićenim nacionalnim spomeni- kom Bosne i Hercegovine. Nadajmo se da će se to uskoro done and shall include the elevators that were uraditi i da će se tom prilikom postaviti i ori. godine Herzegovina. ginalno projektirana.

Retirement Foundation Building. Italic Zgrada Mirovinskog zavoda. photo from 2010 67 .Potpis ispod slike: Aller light 8. snimak iz 1980-ih Zgrada Mirovinskog zavoda. snimak iz 2010. photo from the 1980s Retirement Foundation Building.

photo from 2010 68 .Stambeno naselje Džidžikovac. Residential Development Džidžikovac. snimak iz 2010.

Prozrač. Yet they satisfied all the sličnih projekata građenih u to vrijeme. and the remarkable congruency with karakteriziraju ovo izuzetno arhitektonsko the surrounding green spaces characterise this 69 . Naselje se sastoji od osam troetažnih. The airi- nost i osvijetljenost stanova kao i zgrada u ness and brightness of the units and the build- cjelini. set in three parallel ralelna kaskadna niza. In this there was no comparison with suvremenim stambenim prostorima. comfortable contemporary voljavaju sve zahtjeve za ugodnim i humanim living.5 m2. terconnected buildings. each with 70 m2 korisnoga prostora i pripadajućom te. na natječaju za projektiranje development of a new residential block in the i brzu izgradnju novoga naselja u gradu. the Kadic brothers’ proposal to design and hvaćen je prijedlog braće Kadić za gradnju construct a “colony” called Džidžikovac was ac- ”kolonije” nazvane Džidžikovac. zado. most other projects built at that time. Nove vlasti su. city. lakoća prolaza između nizova zgrada ings as a whole. Under pressure. the new administration trebom. godine. undertook various steps to solve the problem. poduzele različite mjere za rješava. svaki s oko ence. The block was developed on the ravine između sadašnjih ulica Džidžikovac i Hadži which runs between the current Džidžikovac Idrizove. Naselje je izgrađeno u vrlo kratkom and Hadži Idris Streets. Zgrade su izvanredno cascading rows. In 1947. među. construction methods. at a design competition for the rapid 1947. pritisnute ovom po. spaces. the units were relatively small. creating an organic unity. oni. In compliance with the project’s terms of refer- stanovi u naselju relativno mali. za razliku od većine terrace of 12. Iako su. the easy access between the i neprekinuta povezanost zelenih prostora buildings. needs of pleasant. nje problema. The block consists of eight three-storey. about 70 m2 of usable area and an adjoining rasom od 12. for the construction gradnjom novih stanova i drugih smještajnih of additional apartments and other residential prostora. in- sobno povezanih objekata izgrađenih u tri pa. pri. never before seen. space.5 m2. ograničeni postavljenim uvjetima. i to na padini cepted. ization in Bosnia and Herzegovina. The number Broj pristiglih novih građana u Sarajevu su of new arrivals in Sarajevo created an urgent uzrokovali dotad nezapamćenu potrebu za need. and was completed in roku i uz upotrebu novih i originalnih rješenja a very short time with help of new and unique u građenju. The buildings are exception- uklopljene u okolne zelene prostore i s njima ally well integrated with the surrounding green čine jednu organsku cjelinu.Stambeno naselje/”kolonija” Residential Development/”Colony” Džidžikovac Džidžikovac (Djidjikovac) Po završetku Drugoga svjetskog rata slijedila The end of WWII was followed by sudden urban- je nagla urbanizacija Bosne i Hercegovine.

I ovaj je projekt braće Kadić početkom 2008. even me u kojemu je ono nastalo. godine proglašen zaštićenim nacionalnim At the beginning of 2008. prve idejne skice koje je uradio Reuf Kadić Residential Development Džidžikovac. još i više kad se ima u vidu vrije. this development spomen ikom. more so when one considers the era in which it was created. dostignuće. Stambeno naselje Džidžikovac. was also officially declared a protected nation- al monument. extraordinary architectural achievement. first conceptual sketches made by Reuf Kadić 70 .

snimak iz 2010. Residential Development Džidžikovac.Stambeno naselje Džidžikovac. photo from 2010 71 .

Stambeno naselje Džidžikovac. Residential Development Džidžikovac. photo from 2010 72 . snimak iz 2010.

snimci iz 2006. photos from 2006 73 .Stambeno naselje Džidžikovac. Residential Development Džidžikovac.

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

Skladnost cjelina Harmonic Integrity Vakuf Čokadži hadži Sulejmana Vakuf Čokadži hadži Sulejman 75 .

Zgrada Mirovinskog zavoda Retirement Foundation Building 76 .

Kuća Kopčić The Kopčić House 77 .

Prirodna osvijetljenost unutrašnjih Natural Illumination of Interior prostora .Ugaone lođe i prozori Space .Corner Loggias and Windows Vakuf Čokadži hadži Sulejmana Vakuf Čokadži hadži Sulejman 78 .

Vakuf Hovadža Kemaludina (Mekteb) Vakuf Hovadža Kemaludin (Mekteb) 79 .

ulica Miss Irby Vakuf Hovadža Kemaludin (Mekteb) IVZ Retirement Fund building. Konzolno istaknuti natprizemni Cantilevered Upper Floors dijelovi zgrade Vakuf Hovadža Kemaludina (Mekteb) Stambena zgrada Penzionog fonda IVZ. Miss Irby Street 80 .

Stambena zgrada Kapetanović The Kapetanović 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 Džidžikovac Residential Development Džidžikovac 84 .

85 .

sanitary rooms were usually clad in ceramics. Win- svjetlarnike da omogući prirodno osvjetljenje dows were usually doubled. Some units Ponekad je upotrebljavao ugrađene ormare. Upotrebljavao controlled. bila veća od standardnih da olakšaju pristup. 86 . Functionality of all architectural svih arhitektonskih elemenata kao i njihov elements was very important. casement type. Prozori su obič. bathrooms were built-in and had ceramic clad- lidnog drveta. allow them to be joined when needed. as were the aes- izgled bili su mu vrlo važni. thetics. Tuše. uous water flow. ding. Pratio je tion to building interiors. He đene i obložene keramikom. kupaona i drugih sa. protočne plinske grijače vode. omo. In this he did not discriminate between vio razliku između projekata po njihovoj svrsi projects based on their purpose or importance. Basins and toilet bowls were ceramic. and floors finished with terrazzo tiles. gas-fired water heaters with contin- je u to vrijeme vrlo napredne. U ovome nije pra. The distance between the panes was about no bili dvostruki s otvaranjem oko vertikalne 15 cm to ensure better thermal insulation. The walls of his kitchens. Kade u kupaonama su bile ugra. sio im svojim idejama. u slučaju potrebe. Ulazna vrata u stanove su units were oversized to facilitate easier access. He followed advance- napredna kretanja u projektiranju i doprino. ili važnosti. ments in design and contributed his own ideas. He used panel doors slaganog u tada popularnom stilu riblje kosti. Upotrebljavao je illumination of most of interior spaces. He sometimes used built-in closets. heads. He also used portable shower trolirane. bathrooms and other Zidovi njegovih kuhinja. automatically deći zahodi su bili od keramike. He did not hesitate to use new materials and biti nove materijale i opremu. Entrance doors to individual residential vi su bili pokretni. a njihovi pragovi od so. a podovi završavani teraco pločama. skylights and light wells to facilitate natural gućavalo njihovo spajanje. Funkcionalnost equipment. rooms had parquet floors laid in the then popu- Sobe u stanovima su imale podove od parketa lar herringbone pattern. Umivaonici i sje. Reuf Kadić paid particular atten- naročitu pažnju detaljima interijera. had sliding doors between principal rooms to Neki stanovi su imali klizna vrata između glav. used at that time very advanced. nitarnih prostorija su obično oblagani kera. The tubs in his Vrata su bila panelna. He used nih prostorija čime se. Nije oklijevao upotrije. with thresholds of solid wood. Unutrašnjost zgrada Building Interiors U svojim projektima Reuf Kadić je posvetio In his designs. Other mikom. u većini unutrašnjih prostora. automatski kon.

penice bile od solidnog kamena. metal posts and lower rails. Ograde ste. Reuf u teracu. The stairways were wide and Lampe i plafonska svjetla te peći za grijanje bright. Izlazi na balkone i terase su bili kroz handles. finished in brass and were contemporary in de- poklopci otvora za pisma i kontrolna okna na sign. Razmak između unutrašnjih i vanjskih Double doors were used for access to balconies krila je bio oko 15 cm. Reuf Kadić consistently applied advanced architec- U poslovnim i institucionalnim objektima te tural solutions appropriate for such projects. contemporary. Kadić often used pleasant combinations of pas- tudinalama. and were topped peništa su bile modernog oblika s parapetom with oval handrails made of solid wood. individual steps were made bila široka i svjetla. Stepeništa su In some buildings.osi. Reuf Kadić je često upotrebljavao ugodne kombinacije pastelnih boja da naglasi In his designs of commercial and institutional pojedine dijelove njegovih interijera. All door and window knobs and izolacije. letter-slot covers and spy-holes were dvostruka vrata. buildings. The stairway railings had a con- teracu. nog drveta. 87 . objektima za druge svrhe je dosljedno pri- mjenjivao napredna arhitektonska rješenja odgovarajuća takvim projektima. temporary look. tel colours to enhance his interiors. metalnim stupovima i donjim longi. They had terrazzo parapets. U nekim zgradama su pojedinačne ste. Light fixtures and room heaters were also vratima su bili od mesinga i modernog oblika. and buildings for other uses. Ručice i kvake vrata i prozora. There he usually used terrazzo finishes. Obično su završavana u of solid stone. te ovalnim rukohvatom od solid. soba su također bili moderni. zbog bolje toplinske and terraces.

Ugrađena kuhinjska peć Built-in kitchen range 88 .

Detalji stepeništa Stairway details 89 .

90 .

who prepared dokumentacije. 91 . za sliku vakufskog nal design. guages in parallel. aided me in the collection of necessary data nju potrebnih podataka i pripremi knjige za and in preparing the book for publishing. tisak. Tekstovi akademika Ivana Štrausa. Pi. the image of Vakuf’s Tower based on the origi- arhitektu Daliboru Čižeku. nije bilo jedno. U tome su mi stručne sugestije Margo were a great help and I thank them for that. view of the book. a mom prijatelju iz Toronta.Zahvala Acknowledgements Ova knjiga vjerovatno nebi bila završena i This book would not have been possible with- objavljena bez pomoći nekoliko dobrih i lju. Hilton i Vesne Zečević bile velika pomoć i za to sam im zahvalan. suggestions of Margo Hilton and Vesna Zečević stavno. I am especially grateful to academician Profes- Posebno sam zahvalan akademiku profesoru sor Zlatko Ugljen for his contributions and re- Zlatku Ugljenu na njegovm prilozima. trebnih podataka. Ivan Štraus. na što the beginning. In this. the expert sam se od početka odlučio. pregle. for his taking on the demanding task of photo đaku Ameru Kapetanoviću što je preuzeo na documents preparation. The writing of the book in two lan- nebodera urađenu po izvornom projektu. and to my Toronto sebe zahtjevnu ulogu pripreme fotografske friend. architect Dalibor Čižek. my talks with him and his com- moji razgovori sa njim i njegovi komentari su ments aided me in my task and provided me mi pomogli u pisanju i bili značajan izvor po. with a good deal of relevant information. was not simple. I am indebted to my relative Amer Kapetanović Osjećam se dužnim i zahvaljujem mom ro. out the help of some good and kind people who baznih osoba koje su mi pomogle u prikuplja. which I decided to do right at sanje knjige paralelno na dva jezika. and for his agreement to write du knjige i pristanku da napiše uvodne riječi the foreword for it. The writings of academician za knjigu.

as well as to Muhamed Hadžiomerović. project. say thank you to Muhamed Hodžić and Ahmed ću iz Gazi Husrevbegovog arhiva. who facilitated podatcima o radu mog oca. Želim naglasiti pomoć i još jednom se zahvali. Također najiskrenije zahvaljujem svim ovdje I am also truly thankful to all others. Hadžiomeroviću. Zulfikarpašić and Narcisa Puljek-Bubrić from rajevu koji su mi omogućili pristup njihovim Boshniak Institute in Sarajevo. i Muhamedu Mehmedović from Gazi Husrevbey Archives. who helped me in the realization of this ciji ovog projekta. Ahmet cisi Puljek-Bubrić iz Bošnjačkog instituta u Sa. named. here un- neimenovanima koji su mi pomogli u realiza. Ahmetu Zulfikarpašiću i Nar. I would like to acknowledge and once again ti Muhamedu Hodžiću i Ahmedu Mehmedovi. my access to their data about my father’s work. 92 .

Štraus Ivan. str. 20. Štraus Ivan. 1988. POTPUNI NEMAR I RAVNODUŠNOST (Zaboravljene ličnosti i datumi). str.htm. Štraus Ivan. Muhamed i Reuf Kadić. Radio Sarajevo – treći program. 4. Akademija nauka i umjetnosti i Bošnjački institut. 1996. 2002. 441-450.04. 6. 31. str. Institut za Istoriju u Sarajevu. Sarajevo. Radio Sarajevo – treći program. 304-307. SAVREMENA ARHITEKTURA SARAJEVA 1918-1990. Janković Živorad. STOLJEĆE JEDNOG NEIMARA (Otrgnuto od nemara i ravnodušnosti). ARHITEKTURA U KRALJEVINI JUGOSLAVIJI. OKO Sarajevo.-1990. 2. tonski zapis. 1988. MUHAMED KADIĆ. Sarajevo. ŽIVOT I DJELO.Bibliografija Bibliography 1. 2010.2006. Čelić Džemal. 12. Sarajevo. 5. 3. 8. NOVA BOSANSKO-HERCEGOVAČKA ARHITEKTURA. 7. vrijeme objave nepoznato. PRILOZI HISTORIJI SARAJEVA. 34.05. Čelić Džemal. Štraus Ivan. Štraus Ivan. ARHITEKTURA BOSNE I HERCEGOVINE. Sarajevo/Zagreb. ”Oslobođenje”. Milošević Predrag V.10. 10.ba/posebna/sarajevo/ivan_straus. ARHITEKTA REUF KADIĆ.34.-1995. 1977. Srpsko kulturno i prosvjetno društvo ”Prosvjeta”.. Hadžihasanović Aziz. Prilozi. TKD Šahinpašić/BTC Šahinpašić. BRAĆA KADIĆI-PIONIRI SAVREMENE ARHITEKTURE U BiH. Fondacija Adila Zulfikarpašića. Čelić Džemal. Srbinje 1997. 95 . str. Sarajevo. 6.2008. 1-320. 9. 60. tekst osvrta povodom godišnjice smrti. THE ARCHITECTURE OF BOSNIA AND HERZEGOVINA 1945. 11. Hladky Ladislav. 2007. ”Svjetlost”. 99 ARHITEKATA SARAJEVSKOG KRUGA 1930.iis. ODNOS ČEHA I ČEŠKE REPUBLIKE PREMA BOSNI I HERCEGOVINI (prijevod). GRADITELJI SARAJEVA.unsa. ”Oslobođenje”. Sarajevo. www. 22.