091

maketa
model

MUZEJ
SUVREMENE
UMJETNOSTI
natje~ajni projekt, Zagreb, 1999.

CONTEMPORARY
ART
MUSEUM
Competition Project, Zagreb, 1999

AP-92 d.o.o., Zagreb

090 Muzej suvremene umjetnosti

Contemporary Art Museum
uglovnica situacija 1:8.000 situacija krova 1:8.000 situacija 1:2.000
corner building site plan 1:8,000 site plan of roof 1:8,000 site plan 1:2,000
SUVREMENOST
U suvremenom svijetu rije~ Moral toliko
je otrcana da ima gotovo negativno zna~enje i to
vjerojatno s pravom, jer su najve}im prevarantima
i lopovima usta puna upravo rije~i Moral. Ipak, i
ba{ zato, ovaj projekt po~inje od Morala.
Dana{nji svijet nije dobar, on je u krizi i
stoga je potrebno raditi i djelovati tako da svijetu
bude bolje. Nedavno izvedeni muzej u Bilbaou
arhitekta Gehryja iz 1998. godine svojim je probojem
kroz medije popularne kulture postao predlo‘ak
suvremenog muzeja, a mo‘da i suvremene
arhitekture. Njegova popularnost zna~ajno sudjeluje
u pritisku kraja stolje}a-tisu}lje}a i u zahtjevu da
se arhitektura i arhitekti kona~no “izjasne” {to }e
raditi u Tre}em Mileniju i za njega. Povrh toga,
muzejska se funkcija poklopila sa sveop}om
modom rekapituliranja svega i sva~ega. Zbog
svega navedenog, muzej u Bilbaou potrebno je
kriti~ki sagledati. Kao arhitektonsko djelo on je
izvanredno uspje{an, ali je kao kulturolo{ko djelo
ili, to~nije re~eno, kao civilizacijsko djelo, nemoralan.
On je umjetni~ka razrada ve} dugo prisutnih
ideja kaosa, dovedena do krajnosti. Stvaranje
umjetnosti koja tako neizravno potencira Kaos,
koji je ina~e suvremen i popularan, odnosno u
modi, to jednostavno nije dobro... ako ‘elimo da
nam bude bolje. Ako to ‘elimo. Za razumijevanje
tog problema, vrlo se lijepo mo‘e usporediti
vjerojatno potpuno suprotan projekt, odnosno
gra|evina Doma likovnih umjetnosti u Zagrebu
Ivana Me{trovi}a iz 1934.-38. To je primjer Reda
i Obzira prema gradu i njegovom naslje|u, kao i
obzira prema suvremenosti... {to je ~esto dobar
put ka svevremenosti.
Ili, jednostavno, to je Bolje.
ULOGA MUZEJA
Muzej Beaubourg u Parizu vjerojatno je
najzna~ajniji muzej novijeg doba. Njegove dobre,
ali i lo{e strane, postale su ishodi{ne to~ke za
utvr|ivanje novih muzejskih standarda. Istodobni
uspjeh i neuspjeh le‘i u iznimnoj atraktivnosti
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Contemporary Art Museum Contemporary Art Museum
MODERNITY
In the modern-day world, the word “morality”
is so overused that it almost has a negative
connotation, and perhaps rightly so, since the greatest
impostors and thieves are those who most often
speak of morality. Despite this, or rather, for this
very reason, morality is the starting point of this
project.
Today’s world is not good; it is going
through a crisis and one’s work and efforts should
aim at making the world a better place. The museum
at Bilbao produced by the architect Gehry in 1998
has, thanks to the popular-culture media, become
the model for modern-day museums or even perhaps
for modern-day architecture. Its popularity adds
significantly to the pressure applied by the turn-of-
the-century-millennium era, and increases the demand
for architecture and architects to finally “speak their
mind” about what they will be doing in and for the
Third Millennium. Similarly, the function of the museum
has coincided with the general tendency to review
everything in sight. For all these reasons, this
museum should be critically analysed. The Bilbao
museum is an outstandingly successful work of
architecture, but in cultural terms, or more precisely,
in terms of civilisation, it is immoral. It is but an
artistic elaboration of the long-lingering ideas of
chaos pushed to the extreme. The creation of a
piece of art promoting chaos in such a straightforward
manner - chaos being otherwise modern, popular
and fashionable - is simply not good... if we want
to make things better for ourselves. 1B we want to.
To better understand this issue, a comparison can
be made with a project which is quite the opposite
- the building housing the Hall of Visual Arts,
designed by Ivan Me{trovi} in Zagreb in 1934-38.
This is an example of order and mindfulness of the
city and its heritage, including its modernity... which
is oftentimes a good way to achieve quality for all
times.
Or, to put it simply, it is better.
 tlocrt podruma 1:1.000 tlocrt prizemlja 1:1.000 tlocrt kata 1:1.000
basement plan 1:1,000 ground-floor plan 1:1,000 1st floor plan 1:1,000

094 Muzej suvremene umjetnosti 095 Muzej suvremene umjetnosti

Contemporary Art Museum Contemporary Art Museum
uzdu`ni presjek 1:1.000
longitudinal section 1:1,000
gra|evine, a ona je toliko velika da je u potpunosti
zasjenila njenu muzejsku funkciju.
Trg ispred muzeja sa svojim uli~nim
sadr‘ajima i eskalatori koji se uspinju iznad krovova
grada preuzeli su publiku koja bi trebala
razgledavati unutra{njost. Dakle, Beaubourg je
uspio privu}i publiku, ali samo do svoje fasade.
Ne u unutra{njost. Povrh toga, ubrzo se pokazalo
da u muzeju nedostaje zidova za vje{anje slika,
pa su naknadno umetnute pregradne stijene kao
za klasi~ne sobe s ~etiri zida. Projektirani koncept
staklene, otvorene i fleksibilne eta‘e proma{io je
svoj cilj.
Dobro iskustvo ovog muzeja pokazuje
kako od muzeja napraviti gradsku i kulturolo{ku
atrakciju, a lo{e iskustvo pokazuje da se ne
smije zaboraviti klasi~na funkcija muzeja sa “zidom
na koji se vje{aju slike”, unato~ sve ve}em pritisku
umjetnina-performance-instalacija kojima to naizgled
ne treba.
PRU@ENA RUKA
Kada ‘ele pomo}i, kada ‘ele dobro, ljudi
to pokazuju gestom pru‘ene ruke. Ova gesta je
ishodi{na slika iz koje je nastala ideja prilazne
rampe ovog muzeja, koja se iz visine kao velika
ruka pru‘a prema ljudima... da ih skupi kao
mrave... i uzdigne. Ovakva gesta je u duhu funkcije
projektiranog muzeja koji bi trebao uzdignuti ljude
do umjetnosti koja jedina ima {ansu da bude
Nova i Bolja. Za razumijevanje ove te‘nje i geste
mo‘da se mo‘e uzeti sli~an primjer Le Corbusierove
ruke, “Spomenik otvorene ruke” u Chandigarhu.
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Contemporary Art Museum
HRAM NA BRDU
Zna~aj i potreba za muzejom u dana{njem
svijetu postali su poput zna~aja hrama iz pro{losti.
Dvadeseto stolje}e proteklo je u kontinuiranom i
neopravdanom slavlju zbog otkri}a relativnosti.
Pritom su ignorirane mnoge elementarne ljudske
osobine, {to je u realizacijama ideja sprije~ilo
o~ekivani napredak. U prostornom smislu to se
mo‘e ilustrirati kao tako|er zanemarena potreba
za Granicama koje definiraju prostor. Granice su
dobre i na neki na~in va‘nije nego prostor sam
za sebe. Zato upotreba Hrama kao arhetipskog
predlo{ka mo‘e biti dobrodo{la i ugodna Novost.
U taj predlo‘ak uklju~eno je i Brdo kao jednako
va‘an, a mo‘da i va‘niji element postepenog
prilaza i meditacije usmjerene prema sadr‘aju
muzeja.
UZDIZANJE
Lokacija na kojoj se muzej nalazi je Novi
Zagreb, prostor gigantskih praznina potpuno izvan
ljudskog mjerila. Pojedina~ni red postignut u samim
zgradama raspr{io se jer nema granica koje bi
ga zadr‘ale, {to je tipi~an proizvod 20. stolje}a.
Prizemlje-parter prostora za pje{aka je
izrazito neugodan i te{ko savladiv. Ta neugoda
}e prestati kada se prostor popuni izgradnjom, a
to mo‘e biti tek za 10 ili mo‘da 100 godina. U
tom smislu muzej se uzdi‘e iznad prostora, iznad
problema. Prila‘enje i uzdizanje prilaznom rampom
otvara posjetitelju vizure prema okolnom prostoru
koje ina~e ne mo‘e vidjeti,
... {to mu daje osje}aj ponovnog dosezanja
izgubljenih granica prostora,
... {to se mo‘e pretvoriti u ugodan osje}aj
popre~ni presjek 1:1.000
cross section 1:1,000
THE ROLE OF A MUSEUM
The Beaubourg Museum in Paris is probably
the most significant museum of recent times. Both
its good and bad points have become starting
points for the definition of new museum standards.
The museum’s co-existing successes and failures
make the building extraordinarily attractive, so much
so that the building completely overshadows its
function as a museum.
The square in front of the museum, with
its street amenities and escalators rising above the
roofs of the city, draws the attention of the audience
away from the museum’s interior. Accordingly,
Beaubourg has managed to attract audiences, but
only as far as its façade. Not beyond. What’s
more, it soon became clear that the museum lacks
walls to hang paintings on, so that partition walls
were subsequently introduced, forming in this way
classical four-wall rooms. The planned concept of a
glazed, open and flexible storey had failed.
The positive experience arising from this
museum illustrates how a museum can be turned
into a cultural and city attraction, whereas the
negative experience shows that one should not
forget the classical function of museums of providing
a “wall to hang paintings on”, despite the increasing
pressure of artefacts-performances-installations which
do not seem to need one.
AN EXTENDED HAND
When they wish to help, when they mean
well, people show it with the gesture of an extended
hand. This gesture is the image from which the idea
of the access ramp of the present museum stemmed.
The ramp stretches forth from a great height towards
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Contemporary Art Museum
people like an extended hand... to gather them up
like ants... and lift them. Such a gesture is in the
spirit of the museum’s purpose - to raise people to
the level of art as the only field of human activity
still left with a chance of being fresh and better. To
illustrate both the aspiration and the gesture, the
similar example of Le Corbusier’s hand might be
taken: the “Open Hand Monument” at Chandigarh.
A TEMPLE ON THE HILL
In today’s world, the significance of, and
the need for, a museum have become similar to
the significance once attributed to temples. The
20th century has been characterised by the
continuous and unjustified celebration of the discovery
of relativity. Meanwhile, many elementary human
characteristics have been ignored, curbing the
expected progress in the realisation of ideas. In
terms of space, this can perhaps be illustrated as
a neglected need to determine space-defining
boundaries. Boundaries are positive, and in a way
more important than space itself. This is why the
use of a temple as an archetypal model can be a
welcome and pleasant novelty. This model also
involves a hill as an equally important, or even
more important, element of gradual access and
meditation focused on the museum’s contents.
REARING
The location of the museum is Novi Zagreb,
an area of enormous vacuums totally outside the
human scale. Individual order achieved in single
buildings is dispersed, as there are no boundaries
to contain it, as is characteristic of a typical product
of the 20th century.
 pogled prema Novom Zagrebu
view against Novi Zagreb
dosezanja izgubljenih granica duha,
... {to se mo‘e lijepo nastaviti kroz umjetnine
muzeja,
i to je dobro.
GRAD NOVI ZAGREB
Muzej se nalazi na centralnoj osi
grada sjever-jug. Kri‘anje Avenije Ve}eslava
Holjevca i Avenije Dubrovnik centralna je
to~ka Novog Zagreba. Zgrada INE prva je
od ~etiri predvi|ene uglovnice na tom
kri‘anju. Muzej je uglovnica broj dva. Vezanje
muzeja prema starom dijelu grada gotovo
je nemogu}e zbog prevelike udaljenosti,
ali to nije ni va‘no u ovom slu~aju.
Novi Zagreb je takav kakav jest i
muzej-uglovnica broj dva mora samostalno
‘ivjeti bez pomo}i staroga grada. Jednom
u dalekoj budu}nosti ostvarit }e se kontinuitet
grada koji }e dotaknuti muzej svojim osima
i vizurama. Kada grad kona~no dotakne
muzej, svakako }e se izgradnja grada morati
prilagoditi muzeju a ne on njemu. Jer, ipak
je ovaj muzej Nova katedrala i uglovnica u
centru Grada Novog Zagreba. Grad Novi
Zagreb ima vjerojatno 100 - 200 000
stanovnika ali jo{ uvijek nema prostor centra
okupljanja. Ta potreba je nesumnjivo velika
i zato je ovim projektom maksimalno
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Contemporary Art Museum
iskori{tena stvaranjem velikih vanjskih prostora -
ispred i ispod - za mogu}nost okupljanja i aktivnosti
mno{tva ljudi. Prostor ispred muzeja u svakom je
gradu jedan od najdra‘ih prostora okupljanja,
iako ve}inu ljudi zapravo ne zanima {to se nalazi
u njemu. To treba iskoristiti i to muzeju u Novom
Zagrebu ipak mo‘e pomo}i, jer postoji velika
{ansa identifikacije gra|ana Novoga grada s Novim
muzejom.
Dakle, oblikovanje ovog muzeja proiza{lo
je i iz potrebe Grada.
STVARALA^KI DUH ZAGREBA
Unato~ na{oj obi~nosti, u Zagrebu, u
Hrvatskoj, postoji neuobi~ajena potreba za
internacionalnim stvarala{tvom. To zna~i da postoji
niz ljudi i djela koja mo‘emo slobodno pokazati
svijetu s uvjerenjem da smo dobri, a ponekad i
bolji od mnogih. Lijepo je vidjeti potrebu stvaralaca
da budu internacionalni i da hrabro i nesebi~no
odlaze u najdalju avangardu umjetnosti, iako im
to zapravo nije nu‘no. Tako|er je lijepo primijetiti
koliko na{e stvarala{tvo vrlo malo impresioniraju
trenutne mode na svjetskom tr‘i{tu umjetnosti.
Jedna od ljepota Hrvatske u tom smislu je i
arhitektura, koja uporno i “prirodno” njeguje
modernizam od samoga za~etka. Novi muzej mora
pokazati taj Duh.
For pedestrians, the ground level of this
area is most unpleasant and difficult to deal with.
This unpleasant feeling will cease only when the
space is occupied by buildings, which can only
possibly happen in 10, or even 100, years. In this
respect, the museum is raised above space, above
problems. A visitor accessing and ascending the
ramp is faced with a view of the surroundings that
cannot otherwise be seen,
... giving him/her a feeling of having reached once
more the lost boundaries of space,
... which can turn into a pleasant feeling of having
reached the lost boundaries of the spirit,
... a feeling which can be further enhanced by the
works of art contained in the museum,
all of which is a good feeling.
THE CITY OF NOVI ZAGREB
The museum is positioned on the central
north-south axis of the city. The intersection of
Ve}eslav Holjevac Avenue and Dubrovnik Avenue is
the central point of Novi Zagreb. The INA building
is the first of the four corner buildings envisaged
on these crossroads. The museum is corner building
number 2. The great distance makes it almost
impossible to establish a link between the museum
and the old part of the city, and anyway, a link is
not important in this case.
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Contemporary Art Museum
Novi Zagreb should be accepted the way
it is and the museum, as corner building number
2, must live an independent life without the assistance
of the old town. In the distant future, the city will
be integrated and will reach the museum with its
axes and perspectives. Once the city reaches the
museum, building developments will definitely have
to be adapted to the museum and not vice versa.
For this particular museum is a new cathedral and
a corner building in the centre of the city of Novi
Zagreb. The city of Novi Zagreb probably has
some 100,000-200,000 inhabitants, but still lacks an
area where people can come together. Undoubtedly,
there is a great need for such a place, which is
why this project has been used to the maximum
extent to create large outdoor areas - in front of
and beneath the museum - to enable people to
come together in large numbers and take part in
activities. In many towns the space in front of the
museum is one of the preferred places of gathering,
even though many people are not really interested
in what can be found inside. This has to be
exploited as a factor benefiting the museum in
Novi Zagreb, as the odds are high that the inhabitants
of Novi Zagreb will identify themselves with the
New Museum.
Therefore, the design of the museum has
been derived from the city’s needs.

RJE[ENJE IZLO@BENE FUNKCIJE
Rje{enje je ponudio Renzo Piano 1981. godine u
Muzeju zbirke Menil u Houstonu, Texas. Kontinuiran stakleni
krov - blagi vi{eslojni “shed” - omogu}ava kontinuirani
prostor muzeja u jednoj eta`i, s idealnim prirodnim svjetlom
sa stropa i potpuno fleksibilnim zidovima. Zahtjevnost
rje{enja krovne konstrukcije opravdana je prostorom
izvanredne jednostavnosti, potpune dosljednosti i racionalne
~isto}e. To rje{enje u potpunosti zadovoljava zahtjeve
navedene na prethodnim stranicama i zato ga novi muzej
preuzima.
RJE[ENJE HORIZONTALNE
I VERTIKALNE KOMUNIKACIJE
Nakon preuzimanja rje{enja izlo‘benog prostora
muzeja Renza Piana, koji je zapravo labirint, slijedilo je
drugo logi~no rje{enje: stakleni fasadni hodnik-hall oko
cijelog izlo‘benog prostora koji omogu}ava jednostavno
ula‘enje i izla‘enje u i iz svakog dijela muzeja. Sve u
jednoj velikoj fleksibilnoj izlo‘benoj eta‘i. Preostali tehni~ki
i radni prostori jednostavno su raspore|eni ispod izlo‘bene
eta‘e i najkra}im mogu}im vezama spojeni stubi{tima.
Takvo rje{enje dodatno je pro~istilo funkciju i omogu}ilo
oblikovnu jasno}u muzeja. Za razumijevanje ove logike
vjerojatno mogu poslu`iti primjeri arhitekture kao {to su
Koncertna dvorana Lisinski i Galerija Uffizi.
RJE[ENJE INFRASTRUKTURE MUZEJA
Izlo‘beni prostor u jednoj eta‘i, osam metara
iznad zemlje, otvorio je mogu}nost da se cijelom povr{inom
ispod muzeja rasporede sve infrastrukturne-servisne funkcije.
Sve {to je potrebno da bi izlo‘ba na prvom katu funkcionirala
jednostavno se priklju~uje ispod nje. Na isti na~in bi se
ispod muzeja priklju~io-objesio radno-stru~ni dio s uredima,
kao i klimatizacijski ure|aji s potrebnim razvodom cijevi.
Takav na~in oblikovanja zgrade instalacijama infrastrukture
upotrijebljen je na Lloydovoj zgradi u Londonu. Ova
usporedba ve‘e se na muzej Beaubourg koji su radili
Rogers i Piano zajedno, odnosno na obojicu ovih autora
koji stvaraju sli~ne ~iste prostore, a “ne~isto}u” infrastrukture
iskori{tavaju za oblikovanje. Lloyd ima priklju~ke na fasadi
dok ih ovaj muzej ima obje{ene ispod. Prostor ispod
muzeja postaje pje{a~ki trg kontrastnog ugo|aja i kvalitete.
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Contemporary Art Museum
ZAGREB’S CREATIVE SPIRIT
Despite our being ordinary, in Zagreb, or
indeed in Croatia, there is an unusual need for
creativity at the international level. There are a
number of people, and there are many works, that
we can boast about and show to the world, certain
that they are of high quality, sometimes even better
than many others. It is nice to see the need of
creators to be international and to pursue the most
advanced avant-garde with courage and unselfishness,
although there is actually no need for it to be
pursued. It is also nice to see that our creative
circles are not so impressed with current trends on
the world market of art. In this respect, architecture
is also one of Croatia’s treasures, as it has persistently
and “naturally” cherished Modernism from its very
emergence. The new museum ought to reflect this
spirit.
ADDRES SING THE MUSEUM’S EXHIBITING
FUNCTION
A solution was offered by Renzo Piano at
the Menil Collection Museum in Houston, Texas, in
1981. An uninterrupted glass roof - a gentle multi-
layered “shed” - allows the museum to be contained
ulazna rampa
entrance ramp
in a single storey of continuous space, with ideal
natural light from above and entirely flexible walls.
The demanding nature of the roof construction is
justified by the underlying space of extraordinary
simplicity, complete consistency and rational purity.
The design of the new museum fully meets the
requirements laid out above.
ADDRES SING HORIZONTAL AND VERTICAL
COMMUNICATION
Since the museum’s exhibiting function has
been modelled on Renzo Piano’s project actually
consisting of a labyrinth, the following solution
presented itself as logical: a glazed façade corridor-
hall stretching out along the entire exhibition area
facilitating entry into and exit from each and every
part of the museum. It has all been fitted into one
large flexible storey intended for exhibitions. The
remaining technical and service areas have been
laid out beneath the exhibition area and connected
by staircases at points closest to the exhibition
area. In this way the function of the museum has
been additionally clarified and the museum has
been made transparent in terms of design. To
understand the logic, some architectural examples
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Contemporary Art Museum
may be invoked, such as the Lisinski Concert Hall
and the Uffizi Gallery.
ADDRESSING THE MUSEUM’S INFRASTRUCTURE
Placing the exhibition area on a single storey
8 metres above the ground has made it possible to
distribute all the infrastructure and service-related
facilities underneath the entire area of the museum.
Anything required to make the exhibition function on
the first floor can simply be connected from below.
Likewise, office premises for professional activities
could simply be connected-suspended from beneath,
including any air-conditioning devices and related
installations. The infrastructure installations of the building
have similarly been used as a method of design in
the Lloyds building in London. This comparison can
be related to the Beaubourg Museum designed by
both Rogers and Piano, and to their work in general,
since they often create similar pure spaces and use
the “impurities” of infrastructure as design. The Lloyds
building has infrastructure connections on the façade,
whereas in the present Museum of Contemporary Art
they are suspended underneath. The area beneath
the museum becomes a pedestrian square of
contrasting atmosphere and quality.