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

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

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

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

Emir Kadić ARHITEKT / ARCHITECT Reuf Kadić 9 .

abi 10 .

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

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

Mate Baylona. stup arhitekturi. Projektirali su je Dušan Smiljanić i Helen Bal- rakterizirala su burna previranja i sukobi razli. drugi su se tome žnja posvećena projektima Moderne koje su žestoko opirali. Jahi- skom svijetu. Pojedine grupe zagovarale su ela Fincija. Nesumnjivo je da je takvo okruženje niti i na našem tlu. 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. u početku Reuf. Ise Reissa. ravca i drugih. One donose nove funk. tekture. 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. dasara. a kasnije moderne arhitekture. Leona Kabilja. cionalne koncepte i jednostavnost forme. U ovom radu značajna je pa- ricizmom i konzervatizmom. Slijedili su drugi projekti Smiljanića. Emanuela Šamaneka. Na kraju su prevladale ideje uradili braća Kadić. Pavlina. čitih struja u zapadnoeuropskom arhitekton. i Muhamed. godine. ali u isto vrijeme ne vide nikakav problem u Braća Kadić su imali sreću da su studirali u uklapanju u postojeći urbani kontinuitet. Mo- revolucionarni prekid s ”retrogradnim” histo. Početci moderne arhitekture u Bosni i Hercegovini Početno razdoblje dvadesetoga stoljeća ka. 14 .

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

Ali-efendi. Ali-efendi Kadić. Prague in Czechoslovakia to study architecture. školi. them a creative curiosity and a thirst for culture. the bratom Muhamedom. he taught his children about nastojao probuditi kreativnu znatiželju i žeđ the world around them. Reuf Kadić se upisao na sarajevsku Sred. Reuf remained in Sarajevo for another year and nu i radio kao predavač na Srednjoj tehničkoj worked as a lecturer at his former school. arhitekturu/visokogradnje na praškoj Visokoj During his studies. From djecu poučavao o svijetu oko njih i u njima their early days. Reuf je ostao u Sarajevu još jednu godi. years of junior gymnasium. travnja Reuf Kadić was born in Sarajevo on April 25. Ali-efendija teaching at the High Gymnasium (academic je imao četvero djece. In 1930. istovremeno sa starijim graduated with excellent grades in 1926. godine. he was an accomplished writ- poliglot i prevodilac. same year as his older brother Muhamed. dobar pozna. poznat pisac. godine Reuf Kadić je počeo studirati studies at the Technical High School in Prague. that year only Muhamed went to studij arhitekture u Pragu uputio samo Muha. After finishing elementary school and four zije. 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. Ali-efendi had njihove rane mladosti. western cultures. Reuf Kadić enrolled nju tehničku školu i s odličnim uspjehom je in the Technical Middle School in Sarajevo. Nakon osnovne škole i četiri razreda gimna. polyglot and translator. Tokom studiranja je redovito to Sarajevo to work and earn the money needed dolazio u Sarajevo i radio kako bi zaradio no. (aprila) 1908. Reuf Kadić began his architectural 1927. godine. 1908. Njegov otac. and tried to inspire in za kulturom. three sons and a daughter. in Vienna. u to je vrijeme predavao er. Biografski Biographical podatci Data Reuf Kadić je rođen u Sarajevu 25. for the continuation of his studies. tri sina i kćerku. be- 16 . Well versed in both eastern and valac istočne i zapadne kulture. med. He završio 1926. His father. who was at the time na Velikoj gimnaziji u Sarajevu. Još od secondary school) in Sarajevo. In 1927. profesor orijentalnih jezika sa struč. was a teacher ja Kadić. of oriental languages with a diploma obtained nim ispitom položenim u Beču. he regularly returned home tehničkoj školi. Ali-efendija je svoju four children.

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

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

-1926. class of 1926. školska godina 1925..Maturanti Srednje tehničke škole u Sarajevu. 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 .

godine With fellow students in Prague in 1929 21 .S kolegama studentima u Pragu 1929.

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

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

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

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

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

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

Macedonia. izradili idejni projekt za architectural competition for design of the Ibn poslovno-stambenu zgradu Zadruge Spas u Pajko apartment block in Skopje. and had the office re- 1939. is unlikely the work of both brothers Početkom 1940. This. Pavlin). they com- inženjer Pavlin. which was never built due to WWII. godine. privatne stambene Reuf’s projects include: the Kajtaz House on zgrade u Prijepoljčevoj ulici i Kečinoj ulici. Izvedbeni je projekt te zgrade radio After another successful competition. koji nije realiziran zbog rata. manje važno. 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. Hamdija Kreševljaković Street. a family house on Hadži Idriz Street. Kečina Street. less zajednički. about the extent of each brother’s contribution in these joint projects. ment buildings on Prijepoljčeva Street and uraciju i nadogradnju hotela Zagreb. jevo. treću nagradu. 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. Two projects of exceptional value were realized da Mirovinskoga zavoda na uglu ulica Maršala in 1939 and 1940: the Kopčić family house on 33 . ali je competition-winning design for the large com- to malo vjerojatno jer je taj projekt bio vakuf. however. pleted the preliminary design for the Spas Co- stvo u prvo-nagrađenom natječajnom rješe. Negdje se navodi i koautor. private apart- obiteljsku kuću u Hadži Idrizovoj ulici. Unfortunately. i 1940. godine projektirana su dva registered under the name Brothers Kadić. Sarajevu. Reufovi projekti uključuju kuću Kajtaz u ulici Hamdije Kreševljakovića. što je u biti from studies in June of 1939. stambene zgrade. hamed to join him as a partner in his previously opened architectural firm. Cooperation with Muhamed became postoje nesporni podatci o tome koji su sve more frequent after his graduation and return projekti rađeni u koautorstvu te. and the restoration and reconstruction Kao zajednički rad navode se dvije manje of Hotel Zagreb. a Reuf je još bio zaposlen u Vakufu. Reuf invited Mu- Braća Kadić.(junu) 1939. Nažalost. izgleda da ne Muhamed. i resta. 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. operative Building in Sarajevo (detailed design nju za veliki stambeno-poslovni blok Tašlihan by Eng. mercial and residential Tašlihan Block in Sara- ski. Na Considered as joint work are two smaller apart- arhitektonskom natječaju za projekt stam. zgrada Ćurčić u Ćemerli- ni i zgrada Kapetanović u Logavina ulici. ment buildings. importantly. nakon još jednog The brothers won the third place award at an uspješnog natječaja. objekta od izuzetne vrijednosti: obiteljska kuća Kopčić u ulici Safvet-bega Bašagića i zgra. Također su. Some sources also list as joint a u Sarajevu.

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

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

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 .

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

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 .

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

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

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

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

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

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

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

podignute na uglu uli. This Reuf Kadić project was not given much at- salo. zelene keramike na fasadi. očito je Bašeskija Street. završen je u lipnju of Ferhadija and Čemaluša Streets. building’s upper floors. and the introduction of a new material. I ovdje su upotrijebljene ostakljene ugaone Glassed-in corner loggias were used in this lođe te konzolno istaknuti dijelovi zgrade project as well. Also used were the characteristic rows of kih prozora koji omogućavaju dobru prirodnu continuous large windows that ensured good osvijetljenost unutrašnjih prostora. The design of relativno male zgrade. on the exterior further enriched the project. (oriel). ali on bez sumnje spada među njegove tention. kuće i kasnije je često upotrebljavan.Vakuf Hovadža Kemaludina Vakuf Hovadža (Hovadja) Kemaludin (Mekteb) (Mekteb) O ovom se projektu Reufa Kadića malo pi. 51 . pleted in June of 1939. along with cantilevering of the iznad prizemlja. well. Također It was often repeated in his later projects as su upotrijebljeni i karakteristični nizovi veli. godine. was obviously inspired by a inspiriran elementom tradicionalne bosanske feature typical of traditional Bosnian houses. green dodatno su obogatili ovaj objekt. but it is without doubt among his most najuspjelije avangardne radove. natural illumination of the interior spaces. Projek. Čistoća linija i uvođenje roundings. 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. The cleanness of the building’s lines novoga materijala. Projekt ove successful avant-garde works. 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. koji je Reuf Kadić prvi put primi. built at the corner ca Ferhadije i Čemaluše. Ovaj drugi element (erker. ceramics. This second element pomolak). 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).Vakuf Hovadža Kemaludina (Mekteb). photo from 2010 53 .

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

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

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

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

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

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

60 .

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

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

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

64 .

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

part of the original design but never installed. restauraciju. 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. this building was officially declared a protected national monument of Bosnia and Taj je objekt u svibnju (maju) 2008. In May 2008. a nikad instalirana dizala u zgradi. ginalno projektirana. proglašen zaštićenim nacionalnim spomeni- kom Bosne i Hercegovine. godine Herzegovina. Detalj ulaznih vrata u zgradu Detail of the main entrance door 66 .

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

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

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

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

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

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

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

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

Miss Irby Street 80 . 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.

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 .

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

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

Ugrađena kuhinjska peć Built-in kitchen range 88 .

Detalji stepeništa Stairway details 89 .

90 .

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

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

Štraus Ivan. 2. 99 ARHITEKATA SARAJEVSKOG KRUGA 1930. Štraus Ivan. 6. Srpsko kulturno i prosvjetno društvo ”Prosvjeta”. Štraus Ivan.ba/posebna/sarajevo/ivan_straus. 60. ARHITEKTURA BOSNE I HERCEGOVINE. 3.2008. THE ARCHITECTURE OF BOSNIA AND HERZEGOVINA 1945. 20. 1988. Radio Sarajevo – treći program. ARHITEKTURA U KRALJEVINI JUGOSLAVIJI. str. 34. Sarajevo. 95 . PRILOZI HISTORIJI SARAJEVA.-1995. 5. 8. Sarajevo/Zagreb.iis.Bibliografija Bibliography 1. Fondacija Adila Zulfikarpašića. 2007. Sarajevo. www.05. 441-450. ”Svjetlost”. MUHAMED KADIĆ. 304-307. 10. 1988. OKO Sarajevo. 11. Akademija nauka i umjetnosti i Bošnjački institut. Janković Živorad. 9. Sarajevo. str. TKD Šahinpašić/BTC Šahinpašić. 31.2006. 22. SAVREMENA ARHITEKTURA SARAJEVA 1918-1990. GRADITELJI SARAJEVA. 7. Sarajevo. str. 2002. STOLJEĆE JEDNOG NEIMARA (Otrgnuto od nemara i ravnodušnosti). ARHITEKTA REUF KADIĆ. Institut za Istoriju u Sarajevu. Prilozi. 12. 6. Štraus Ivan. POTPUNI NEMAR I RAVNODUŠNOST (Zaboravljene ličnosti i datumi). Milošević Predrag V. str. Radio Sarajevo – treći program. Srbinje 1997. Štraus Ivan.htm. ODNOS ČEHA I ČEŠKE REPUBLIKE PREMA BOSNI I HERCEGOVINI (prijevod). Čelić Džemal. 2010. 1996. tonski zapis. Čelić Džemal.-1990.10. Hladky Ladislav. 1977.34. NOVA BOSANSKO-HERCEGOVAČKA ARHITEKTURA. 4. ”Oslobođenje”. ŽIVOT I DJELO. Sarajevo. Hadžihasanović Aziz.04.. BRAĆA KADIĆI-PIONIRI SAVREMENE ARHITEKTURE U BiH.unsa. ”Oslobođenje”. Muhamed i Reuf Kadić. tekst osvrta povodom godišnjice smrti. Čelić Džemal. 1-320. vrijeme objave nepoznato.