Interpolation of Academy of music in Zagreb

Kralj, Marina. (2018). Interpolation of Academy of music in Zagreb. Diploma Thesis. Filozofski fakultet u Zagrebu, Department of Art History. [mentor Jurić, Zlatko and Tomas, Ivana].

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Abstract

The interpolation of the Zagreb Academy of Music caused a lot of thought and debate as it was a sensitive fit of the building into the historical context of the Zagreb Square. In order to clarify the whole problem that is related to it, I have focused in this paper on the interpolation circumstances. The Music Academy's building interopolated as a work of the 21st century in the Republic of Croatia Square, which was almost entirely formed in the 19th century. As a result of the situation, on the west side of the square was an empty parcel. After a number of failed projects, it was finally announced that the building for the Zagreb company Željpoh (later Ferimport) will be designed by Stanko Fabris. Fabris's building soon became an example of unsuccessful architecture and urbanism. The company was bankrupt in the spring of 2000, and the building was put up for sale. In February 2003, it was announced that the City of Zagreb will redeem the building and completely adapt it for the needs of the Academy of Music. The architectural-urbanistic contest included a proposal of conservators for the restoration of the building in accordance with the original idea of Stanko Fabris as a testimony to the architecture of the 1960s. An opportunity for the rehabilitation of Fabris' work was given to architect Milan Šosterič from Zagreb. Its building is, as a whole, formed from two dilatations. In the architecture of the building he introduced five constituent elements: the orthogonal structure of Ferimport, the superstructure that we see from the outside as a span in color spectrum, then the risalit (avant-corps) which is carried out in front of the Academy, the trilateral very narrow and long needle and, as the fifth element, the sphere. Šosterič's work has caused various reactions. Criticism reflects on several aspects equally related to construction and to the building of the Academy of Music itself. In this paper, the criticisms are grouped according to a few of the most frequently discussed topics in the media, so the criticisms of the contest, the submitted works, and the final decision have been discussed. There is also a review of the art formatting of the building and its surroundings, as well as allegations concerning the obsolescence of the concept and the time inadequacy of the Šosterič's work.

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