Expressionism in Croatian Architecture of the Interwar Period, Architectura-Zeitschrift für...

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Introduction

During the First World War, the city of Zagreb and themajority of Croatian territory were subjected to a rather small degree of war destruction. However,build ing construction ceased considerably and was revitalized only after the restoration of peace, as a con-sequence of intense demographic and economic growthand mass migration of rural population to the cities insearch of employment. After the dissolution of theAustro-Hungarian Monarchy in 1918, Zagreb becamein the newly formed state of the Kingdom of Serbs,Croats and Slovenes (in 1929 renamed Kingdom of Yu-goslavia) major economic and cultural centre, despitethe fact that it was not the country’s capital. The city’srapid growth was facilitated by the establishment ofnumerous new banking and insurance companies, bythe construction of a series of industrial facilities andthe foundation of new higher-education and other pub -lic institutions. The position of Croatian architects alsochanged – they were given the opportunity to designbuildings all over Yugoslavia, free from competition ofarchitectural studios from Vienna and Budapest.1

In the years immediately following the war, a numberof young architects who completed their training in dif-ferent European centres started returning to Croatia,influenced by diverse tendencies which marked Euro-pean architecture of the period, including Expressio-nism. Despite the fact that in the history of Croatianarchitecture Expressionism neither took firm hold norhad the significance and reception like it had in Ger-many, there exists a whole series of architectural de signswhich display a pronounced influence of this style.2

Expressionism in Croatian architecture was not theresult of a chaotic post-war atmosphere, inflation orother economic problems (it actually appeared in a period of economic prosperity), but primarily a reflec-

tion of the incursion of Modernism. Architects of Cro -atian Expressionism did not form a homogenous group– they neither shared the same formation or social con-victions, nor belonged to the same political circles.What they had in common were aspirations for the accommodation of architecture to the new world, itsnew needs and possibilities, as well as the ways in whichthey transferred elements of German Expressionism tosmaller-scale projects, successfully attuning them to theCroatian context and blending them with local archi-tectural traditions and/or other styles.As in Germany, every Croatian architect whose work

reveals elements of Expressionism followed a markedlyindividual architectural expression, which representsthe basic difficulty in this research. Borders betweenExpressionism, Art Deco, Cubism and Constructivismoften resist clear delineation and mainly depend on thechoice of architectural elements to be analysed.3

architectura Band 44/2014

Abbreviations:

ATUB = Architekturmuseum der Technischen UniversitätBerlin, Universitätsbibliothek. www.europeana.eu

MAC = Museum of Arts and Crafts (Muzej za umjetnosti obrt) Zagreb.

1 The starting point for this paper was a much shorter ar-ticle on Expressionism in Croatian architecture includedin the exhibition catalogue Expressionism in Croatia.Dam janovid 2011, 54– 63, 159– 163.

2 About Croatian architecture of the period see: Eorak1981; Premerl 1990; Laslo 1999, 186– 195.

3 The first survey on Expressionism in German architec-ture, with no reference to Croatia, was published in Za -greb in the periodical Eovjek i prostor in 1962– 63. It wasa translation of an Italian text by Vittorio Gregotti. Gre-gotti, 1962, 2 – 3; 1962, 4 – 5; 1963, 6 – 7, 9. In the course of the 1980s the topic was addressed again in: Borsi 1984,25– 33. Contributions on German architecture of the1920s used as the starting point for this article are: Mül-ler-Wulckow 1929; Hilbersheimer 1967; Pehnt 1973; Mil-

Dragan Damjanovid

Expressionism in Croatian Architecture of the Interwar Period

061-086 Damjanovic_001-000 Philipp et al. 17.02.15 13:59 Seite 61

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Disciples of Hans Poelzig and Croatian Expres -sionism

The emergence of Expressionism in Croatian architec-ture, as in Germany, is primarily related to the oppo -sition to firmly established tradition of historical stylesin architecture. Immediately after the First World Warthe architecture of Zagreb was characterized by ten-dencies which marked the years preceding the war. LateArt Nouveau remained the dominant style, with mod -ernised Neoclassicism combined with Art Deco pre-vailing around mid-1920s, especially in public archi-tecture. Expressionism began to occur since 1922, andthe International Style since late 1927.While the culmination of Expressionism in Croatian

painting comprised the period between 1919 and 1921,4


1. Drago Ibler, perspective viewof the façades of the Epidemio-logy Institute in Zagreb, unbuiltdesign, 1922.

2. Drago Ibler, Epidemiology Institute in Zagreb,ground plan, unbuilt design, 1922.


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its introduction to architecture occurred a few years later. This delay is also obvious in comparison with thepeak of dissemination of Expressionism in German architecture – the first Expressionist designs, accordingto the current state of knowledge, appear in Zagrebonly in 1922. Although belated, Expressionism in Cro -atia spread directly from its centre – Berlin, through thework of architects who studied under Hans Poelzig,and above all owing to the central figure of this style inCroatian architecture Drago Ibler (Zagreb, 14 August1894– 12 September 1964).5

After having attended the Technische Hochschule inDresden in the years 1914– 20, Ibler worked in Poel -zig’s Berlin studio between 1920 and 1923 as »a free-lance associate in his building workshop«.6 It is there-fore comprehensible that Poelzig’s influence on Ibler’sdesigns is extremely pronounced during the years spentin Berlin and in the first years after his return to Cro -atia, which is evident already in his first work for Zagreb, the 1922 design for the Royal State Epidemio-logy Institute (Fig. 1, 2). The three-storey building withellipsoidal oval ground plan, with cut edges and round -ed corners, was originally planned on the peak of thelocation Zeleni brijeg, north-east from the city centre.Such unusual ground plan was chosen in order to tonedown the building’s size and its position on the highground, as well as to avoid direct insolation of any partof the building. The Expressionist search for dynamic

volumes was thus aptly combined with a functionalistaspiration to adapt the building to its location and pur-pose, a feature which will remain present in Ibler’s later works. Ibler follows Poelzig’s works in the form of the

ground plan and façade design, originally planned withrustically cut stone cover on the outside and clad in facing brick in the courtyards, and crowned with ananimated projected cornice.7 The treatment of streetfaçades, as well as the motif of pilaster strips, bears astrong resemblance to Poelzig’s design for the DresdenFeuerwache of 1917, the Salzburg Festspielhaus of 1922 and especially the Factory Goeritz in Chemnitzof 1925– 28.8

Although Ibler won first prize at the architecturalcompetition, this building was never constructed.9

Ibler’s design for the building of the Central Workers’Insurance Office (Središnji ured za osiguranje radnika– SUZOR) in 3 Mihanovideva Street in Zagreb, drawn


ler Lane 1985; Busche 1987; James-Chakraborty 2000;Curtis 2003, 183 – 190.

4 Makovid 2011, 26.5 More about Ibler, in Eorak 1981.6 Krleža 1924 – 1925, 173.7 Eorak 1980, 46– 50.8 ATUB; Bolz 2006, 84– 108.9 Krleža 1924 – 1925, 170.

3. Drago Ibler, Central Wor-kers’ Insurance Office, perspec-tive view, unbuilt design, 1923.


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a year later, in 1923, displays a completely different ap-proach to form, but the influence of Poelzig remainsundisputable (Fig. 3).10 In order to accentuate thebuild ing’s function as the central welfare institution ofworkers, Ibler chose a much simpler design of thefaçade and of an enclosed, rectangular volume of thewhole, with the idea of conveying the impression of power and simplicity and symbolizing the strength ofthe workers.11 The façades were supposed to be articu-lated by a dense series of elements resembling buttres-ses, gradually retracted towards the upper parts of thebuilding.12 The realization of this project was no lessunfortunate – the first prize at the competition wasawarded to a stylistically much more conservativeNeoclassical design made by architect Rudolf Lubyn -ski, and constructed in 1925.13 In that period Zagrebwas obviously not ready for such a radical drift fromestablished architectural tradition, especially from thethen fully dominant Modernist (Neo)classicism prac-ticed by the majority of architects of the older gene -ration and at first also by a considerable number of younger architects returning to Zagreb after complet -ing their education in different European centres.

However, Expressionist liberation from historical legacy was what draw Ibler’s works to the attention ofthe most distinguished Croatian writer and art critic ofthe period Miroslav Krleža, whose positive assessmentswere expressed in an article published in the periodicalKnjiževna republika in 1924– 25. Krleža argued thatIbler’s designs were based on the needs for velocity,simplicity, functionality that marked the period, butthat the architect was not given the possibility of theirrealization, which was the destiny which Ibler sharedwith »the most modern« German architects of the time,Peter Behrens, Hans Poelzig and Hans Rottmayer.14

Both Krleža and Ibler himself found their startingpoint for addressing the problems and issues of con-


10 Similarities can be found especially in Poelzig’s design forthe bank building in Potsdam, 1921, preserved in: ATUB.

11 Krleža 1924 – 1925, 171.12 Eorak 1980, 52– 53.13 Rudolf Lubynski was one of the pioneers of Art Nouveau

in Zagreb. He studied at the Technische Hochschule inKarlsruhe. On Lubynski see Laslo 1984 – 85a, 169– 197;Laslo 1984 – 85b, 202– 208.

14 Krleža 1924 – 1925, 173.

4. Drago Ibler, Pavilion of theKingdom of Serbs, Croats andSlovenes at the 1925 Expositioninternationale des Arts déco -ratifs et industriels modernes inParis, interior of the theatre section.


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temporary architecture in one of the manifests pub -lished on the occasion of the 1919 exhibition of theworks of German modernist architects (Ausstellungfür unbekannte Architekten).15 Like Krleža, Ibler also,in one of his earliest published essays, criticized imita-tion of historical styles in contemporary architecture.Instead, he believed that an architect should create newforms suited to new content. »Functionality and eco-nomy are the postulates of the work of today’s archi-tect… But architectural forms conditioned by these postulates are not forms of times past, so adorning ourbuildings by using the decorative apparatus of the pastbears no sense. In a big city, who has the time and peace of mind to observe the subtle details of the beautiful cornice of the Strozzi Palace, and wherewould one find labour and funds for such a task? Formovement velocity is greater, time for optical percep-

tion is shorter, so form must be stronger and architec-ture must act with clear distribution of volume and amore simplified rhythm.«16

The aforementioned focus on volume is discernible inalmost every Ibler’s design, including his only con-structed, though no longer extant building from mid-1920s – the pavilion for the theatre section of the ex -hibition of the Kingdom of Serbs, Croats and Slovenesat the Exposition internationale des Arts décoratifs etindustriels modernes in Paris in 1925, erected within


15 There were several manifests published on the occasion of the exhibition, but the one in question cannot be pre-cisely identified. About the exhibition, see Pehnt 1973, 89– 92.

16 Ibler 1927, 4.

5. Drago Ibler, Pavilion of the Kingdom of Serbs, Croats and Slovenes at the 1925 Exposition internationaledes Arts décoratifs et industriels modernes in Paris, interior of the theatre section.


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the Grand Palais (Fig. 4, 5).17 Ibler was assigned theproject primarily through the intercession of TomislavKrizman, painter and graphic artist, dean of the Aca-demy of Fine Arts in Zagreb and author of the wholepavilion display, in which he gave a prominent positionto Croatian artists.18

The central octagonal space within the pavilion bearsanalogy to the design for the Epidemiology clinic in itscloseness to the organic type of Expressionism and inthe use of pointed arch niches. The central space of thepavilion as well as the hall and the vestibule, resemblea stage designs for a contemporary Expressionist film,and partly the interiors of Poelzig’s Grosses Schau-spielhaus in Berlin.19

The 1925 pavilion in Paris would remain Ibler’s onlyconstructed Expressionist design. His most importantdesigns of the second half of the 1920s, for the townhall in Sušak (1927) and for the Trading High School inZagreb (1928), would share the destiny of his earlierworks – they would remain unbuilt due to their tooavant-garde features for the Croatian milieu.Poelzig’s influence on Ibler was extremely pronounc -

ed in these years as well. The terraced design of thetown hall in Sušak (Fig. 6)20 recalls the 1916 plans forthe House of Friendship in Istanbul,21 and the modelfor the Dresden Stadthaus of 1917.22 The motif of ver-tical wall protrusions, used by Ibler on the SUZORbuilding design in a somewhat different form, repre-

sents the basis for façade articulation, which would berepeated in the subsequent project for the Zagreb Trad -ing High School (Fig. 7). On both designs Ibler aban-doned organic forms. The flat roof, the reduction of decorative elements and the absence of rounded ope-nings substituted by simple rectangular windows, allreflect an ever more pronounced influence of moder-nism, although elements of »expressivisation« of bothfaçade surface and the building’s volume remain pres -ent, naturally on a smaller scale. Modernism wouldvery soon (in 1929) prevail in Ibler’s work, as well as inthe architecture of Zagreb in general.23

Although Ibler’s work of the 1920s reveals strongerinfluence of Poelzig’s Expressionism than the work ofany other Croatian architect, he was not his only Cro -atian disciple. Among the ones who studied and work -ed in Poelzig’s studio were also Zdenko Strižid and Josip Pieman, and this experience is clearly reflected in


17 The central pavilion of the Kingdom of Serbs, Croats andSlovenes was designed by architect Stjepan Hribar, * 1925:5.

18 Eorak u.a. 1990, 36 – 41.19 Eorak 1980, 63– 67.20 Published in: Ibler 1927, 4.21 Eorak 1980, 75– 76.22 ATUB; Scheffler 2007, 10 – 15.23 Radovid Maheeid 2007, 107– 110; Premerl 1990, 97, illust-

rations 68– 69.

6. Drago Ibler, design for the town hall in Sušak, unbuilt design, 1927.


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their early works from the second half of 1920s andearly 1930s.24

Zdenko Strižid (Bjelovar, 29 September 1902– Braun-schweig, 1 November 1990) who, like Ibler, studied inDresden, designed his most important Expressionistworks during his stay in Poelzig’s workshop at the Ber-lin Academy between 1925 and 1931.25 Among the pre-served designs, especially interesting are those for a family house in Potsdam (usually called the PotsdamHouse) and the house for Dr Simon designed for an un-known location, probably Berlin or its surroundings.With the Potsdam House (designed around 1925) andits elaborate ground plan, volumes of different height,slanted and curved roof and façade portions accentu -ated by facing brick, Strižid is closest to the organic features of Poelzig’s architecture, although one cannotoverlook the influence of the ever more dominant In-ternational Style (i.e. Neue Sachlichkeit) (Fig. 8). In1928 Strižid worked with Poelzig on the Babilon the -atre in Berlin, while the following year he would be assigned the design of the housing project on the Bülowplatz in the same city, and allegedly also the

build ings of the casino (canteen) for the I. G. Farbencompany in Frankfurt am Main (1930). Finally, in 1931Strižid would be one of the main organizers of the ex-hibition of the Department of Young Architects in Ber-lin which presented designs by both Poelzig and his disciples.26

Despite his continuing participation in different ar-chitectural contests in Yugoslavia, Strižid definitivelyreturned to Zagreb only in 1933, after the Nazi seizureof power in Germany.27 By that time the formal lan-guage of international Modernist architecture alreadytook firm hold in his work, so the only designs leaningtowards Expressionism belong to the period of his stayin Germany.Similar is the case with the oeuvre of Josip Pieman (Le -

kenik, 14 February 1904– Zagreb, 7 February 1936).28


24 Radovid Maheeid 2007, 19.25 Galovid 1997.26 N. S. – S. 1931, 12.27 Galovi 1997.28 About Pieman see: Mutnjakovid 1997.

7. Drago Ibler, Trading High School in Zagreb, perspective view, unbuilt design, 1928.


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Expressionist elements in Pieman’s work are most evi-dent in the design for the postal savings bank and themain post office building in Belgrade, drawn in 1930 at the time of Pieman’s employment in Poelzig’s studio

(a collaborator on the design was the architect AndrijaBarany from Berlin). The articulation of the façades of the building is already fully Modernist, deprived ofdecoration, but the undulating volume of one of thestreet wings follows Expressionist tradition (Fig. 9).Although the Pieman and Barany design had beenawarded first prize in the architectural contest, the ac-tually built façade does not correspond to it, but con-tains elaborate Neoclassical decoration.29

Ibler’s Department of Architecture at the Academyof Fine Arts in Zagreb and Expressionism in the oeuvre of Stjepan Planid

Poelzig’s influence on the emergence of Expressionismin Croatian architecture did not remain limited only toworks of his disciples, but was also transferred indi-rectly through the newly established system of educa-tion of architects in Zagreb, more precisely through theDepartment of Architecture of the Academy of FineArts in Zagreb led by Drago Ibler. It was founded in1926, but its activity began the following year.30 It exist -


29 Planid 1932, 98– 99; Premerl 1990, 59 – 60; Mutnjakovid1997, 44– 45; Kadijevid 2012, 70.

9. Josip Pieman, Andrija Barany, Main post officebuilding in Belgrade, 1930.

8. Zdenko Strižid, PotsdamHouse, ca. 1925.


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ed until 1943 with a total of 14 graduated architects,among which in the context of Croatian Expressionismstands out Stjepan Planid.31

A strong Expressionist influence in Planid’s work canbe discerned mostly in his earliest works dating fromthe 1920s and early 1930s.32 The majority of his de signsremained just on paper or were only partially built, likethe building of the Social Security Office in Maribor,designed in collaboration with architect Lavoslav Hor-vat in 1925, but constructed three years later accordingto the partially modified design drawn by the Slovenianarchitect Josip Costaperaria.33

The most important executed Planid’s design that canbe associated to Expressionist architecture is the newwing of the House of Craftsmen and Journeymen So-


30 Eorak 1981, 70– 74. I would like to express my gratitudeto Ivana Haniear Buljan from the Institute of Art Historyin Zagreb for drawing my attention to the connection be -tween Planid’s works and Expressionism.

31 Radovid Maheeid 2003– 2004, 29; Radovid Maheeid 2014,193– 205.

32 Eorak 1981, 73, 239.33 Paladino 2013, 21.34 En. 1930, 4; *1930e, 5. *1930f, 5.

10. Stjepan Planid, House ofCraftsmen and Journeymen Society on the corner of the Britanski Square and the Pan -toveak Street, Zagreb, 1930.


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ciety on the corner of the Britanski Square and the Pan-toveak Street in Zagreb (1930).34 The building’s undu-lating ground plan and geometrical façade decorationfind no analogies in Croatian architecture of the periodand denote a synthesis of Expressionist and Modernistelements (Fig. 10, 11).Among the younger generation of Croatian architects

Stjepan Planid was the one who retained elements ofExpressionist approach to architectural volume overthe longest period, which is evident in a whole series ofhis designs from the 1930s. In 1931 he participated inthe contest for the large complex of the Sokol trainingcentre planned in the Savska Street in Zagreb, propos -ing a design which included a large triangle-shapedcomplex with rounded sides, a semi-circular main en -trance and an oval stadium (Fig. 12). The influence of

Ibler’s architecture, and possibly of Karl Harberger’splans for the Augarten stadium in Vienna,35 as well asthe tendency for achieving the expressivity of architec-tural language, are visible not only in ground plan, butalso in the articulation of the façade by a series of pilas -ter strips. The design was awarded third prize in thecompetition.36 However, the construction of the Sokoltraining centre was never begun, so neither Planid’s, northe first two awarded designs came to be constructed.37


35 Published in Grimme 1930, 40.36 *1931d, 4.37 About Sokol training centre see also: *1931c, 8– 9; *1931b,

5; Planid 1932, 71– 73; Štulhofer 1995, 66; Premerl 1996,CCLXXXII; Štulhofer 2005, 71 – 73.

38 Planid/Tomaševid 1930; Planid 1932.

11. Stjepan Planid, House ofCraftsmen and Journeymen Society on the corner of the Britanski Square and the Pan -toveak Street, Zagreb, 1930,façade detail.


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Planid was more fortunate with the »skyscraper« ofthe Croatian Cultural Association Napredak at the cor-ner of the Bogovideva and the Gajeva Street in the cen-tre of Zagreb. The undulating façade, dense rhythm ofnarrow windows (reminiscent of Ibler’s windows in theSUZOR plans), as well as the projected cornice some-what similar to the same motif in Ibler’s design for theEpidemiology Institute, are undoubtedly related to theaesthetics of the 1920s, here synthesized with dominantelements of the International Style. Completed in 1937,it represents the last example of the influence of Ex-pressionist architecture in Croatia.The influence of Expressionism in the work of Stje-

pan Planid is clearly visible not only in his designs andbuilt projects, but also in the field of architectural pub -lishing. His publications, both the catalogue of theBuilder’s Exhibition (edited in collaboration with Er-nest Tomaševid) published during the InternationalBuilder’s Congress in Zagreb in 1930 and the bookProb lems of Contemporary Architecture of 1932,alongside Modernist architects include precisely thosedesigners whose works display distinct elements of Ex-pressionism (Planid himself, Strižid, as well as diverseforeign architects).38 Particularly revealing is the coverpage of the aforementioned exhibition catalogue fea-turing a drawing (probably Planid’s) of a building of distinct Expressionist treatment of volume, designed


12. Stjepan Planid, Sokol train -ing centre in Zagreb, unbuiltdesign, 1930.

13. Cover of the book by Stjepan Planid, Ernest Tomaševid, Graditeljska izložba. Za vrijeme megu -narodnog kongresa graditelja u Zagrebu od 14. –21.IX.1930. (Builder’s Exhibition. On the Occasionof the International Builder’s Congress in Zagrebfrom 14 to 21 September 1930).


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14. Felix (Sredko) Florschütz, undated design for the lighthouse of the monument to Columbus.


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probably under the influence of Erich Mendelsohn’sworks (Fig. 13). Furthermore, the unexecuted designby Feliks (Sredko) Florschütz, a builder from Zagreb,for the lighthouse of the monument to Columbus, published in the same catalogue, represents the mostprominent example of the influence of Mies van derRohe’s glass skyscraper for Berlin’s Friedrichstrasse(1921) in Croatian architecture (Fig. 14).

The influence of Peter Behrens and the Architektur-schule of the Akademie der bildenden Künste inVienna

Alongside Hans Poelzig, the architect who exerted thestrongest influence on the emergence of Expressionism(and later Modernism) in Croatian (as well as CentralEuropean) architecture in the interwar period was Peter Behrens. As Otto Wagner’s successor at the ar-chitectural school of the Akademie der bildendenKüns te in Vienna in 1921– 27,39 he educated a wholegeneration of disciples, among which were two Cro -atian architects – Andreas Spineid, whose activity stillremains unknown, and Juraj (Georg) Neidhardt (Za -

greb, 15 October 1901– Sarajevo, 13 July 1979), whowould later become one of the leading architects inCroatia and Yugoslavia.40

Neidhardt’s earliest works, probably made during hiseducation at the Academy in Vienna (1920– 24) or du-ring his employment in Behrens’s studio (1925), displaynumerous Expressionist elements, as is exemplified bythe unbuilt design for the airport in Vienna (Fig. 15).41

Expressionist elaboration of the façade and toying withvolumes are merged with minimalistic features of theInternational Style. The same combining of motifs isencountered in the works of many other Behrens’s di-sciples.42

It was probably during his stay in Vienna that Neid-hardt saw an illustration or photo of Mendelsohn’s Ein-stein Tower in Potsdam (1921– 24),43 which influenced


39 Grimme 1930, 7; http://www.architektenlexikon.at/de/34.htm, accessed 7 October 2014; Anderson, 2000, 241.

40 Kapetanovid 1988, 496– 497; *1991, 74– 79.41 Cremers 1928, 156.42 Judging by the works of his disciples published in Cre-

mers 1928.43 A photograph of Einsteinturm was published in the book

Problems of Contemporary Architecture (Problemi sa-

15. Juraj Neidhardt, Vienna airport, unbuilt design, ca. 1925.


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his design of the tower-belvedere-observatory of theSeminary in the Vodarska Street of the Šalata neigh-bourhood in Zagreb. It was constructed in 1927– 29,but the design was made already in 1925, immediatelyafter Neidhardt’s return from Vienna.44 The seminarywas a joint investment of the Archdiocese of Zagreband the Diocese of Fakovo.45 Neidhardt’s 35-meter talltower, situated on top of one of the hills north-east ofthe city and dominating the surrounding landscape,»stiffens« the organic forms of Mendelsohn’s work toa somewhat classicizing variant, maintaining at thesame time an Expressionist playfulness in the distribu-tion and shaping of window openings, as well as in theinterplay of volumes of different parts of the spaciousseminary complex.

Direct import of Expressionism from Berlin – the Zagreb City Slaughterhouse

Apart through the activity of his students, Behrens alsoleft his trace in Zagreb through his participation in twoarchitectural projects. Even though foreign architectswere rarely employed in Zagreb after the dissolution ofthe Austro-Hungarian Monarchy and the institution ofthe Kingdom of Serbs, Croats and Slovenes, in thecourse of the 1920s several designs by German andAustrian architects still came to be executed. Amongthe most important figure the ones which includedBehrens’s participation: the reconstruction of the Fel-ler-Stern house at the Ban Jelaeid Square 11 and the cityslaughterhouse in the Heinzelova Street 66.The reconstruction of the Feller-Stern house was con-

ducted according to Behrens’s designs in 1928, at thetime when the architect had already embraced Moder-nism, and represents one of the first examples of thenew style in the architecture of Zagreb.46 The secondbuilding marked by Behrens’s this time indirect in -volvement, the City slaughterhouse complex con -structed in 1929– 31,47 is stylistically much more inter -esting in the context of this article, as an example of asynthesis of Expressionist elements and motifs of theNeue Sachlichtkeit architecture.The slaughterhouse was erected according to the 1928

design of the Berlin architect Walter Frese.48 Judging

by the information published in local press, Behrenswas Frese’s representative in Zagreb, probably duringthe period of his supervision of the reconstruction ofthe Feller-Stern house, and most likely due to the factthat he was working in Vienna at the time, which madethe trip to Zagreb much easier than it would be forFrese who had his office in Berlin. The huge slaughter-house complex, situated at the then eastern border ofthe city on the spacious plot of around 105 000 squaremeters, consists of 24 buildings among which as themost interesting stand out the central slaughterhousebuilding and the 30-meter high water tower.49

The first Frese’s design for Zagreb’s slaughterhouse,drawn in 1922, is stylistically more related to moder-nist Neoclassicism (or even Neo-Baroque),50 despitethe highest prevalence of Expressionism in Germany inthe moment it was drafted. The executed design, dated1928,51 with its central tower accompanied by anothercircular, smaller tower, and especially with its facingbrick walls arranged in decorative patterns and with accentuated window frames, undoubtedly follows con-temporary transitional examples from Expressionismto the architecture of Neue Sachlichkeit, a practice widespread in Germany in mid- and late 1920s(Fig. 16).52 Stylistic features of the tower, articulated byhorizontal series of framed windows, bear resemblanceto Mendelsohn’s Schocken department store in Nürn-berg designed in 1926,53 although the slaughterhousefaçades – which is understandable considering thebuild ing’s utility character – are much simpler. Certainparallels can be drawn with Behrens’s works as well:with the administrative building of the Farbwerke


vremene arhitekture, ed. Stjepan Planid), but several yearsafter the completion of the Archdiocesan Seminary build -ing, Weissmann 1932, 110.

44 Radovid Maheeid 2007, 71– 76.45 *1927d, 6; *1928c, 5; *1929b, 8– 9.46 Radovid Maheeid 2007, 77– 80; Bagarid 2011, 304– 308.47 *1929c, 9; *1931e, 4.48 Šepid 2010, 259– 260; Laslo 1983, 30– 31.49 *1931f, 36– 38; *1931g, 3; Siewert 1933, 35– 42.50 Reproduced in *1931f, 37.51 *1928a, 3.52 Weitz 2007, 170.53 Illustration in Müller-Wulckow 1929, 97.54 Illustration in Müller-Wulckow 1929, 9.


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Hoechst AG company in Frankfurt-Höchst (1920–24), particularly with its façade articulation as well asthe use of the motif of the large arched bridge connect -ing the two buildings of the complex, and also with the

warehouse and office building of the Gutte Hoff-nungshütte A. G. in Oberhausen (1921– 25).54

The slaughterhouse has been out of use for a decadenow, and the destiny of this large complex is ques -


16. Walter Frese, Zagreb slaugh-terhouse in the HeinzelovaStreet 66, Zagreb, 1929 – 31.


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tionable, despite being part of protected industrial her -itage.

The interior of the City Café in Zagreb

Disciples of Poelzig and Behrens had a prominent rolein the dissemination of Expressionism in the architec-ture of Zagreb; however, elements of this style can alsobe found in works of other architects formed in en tirelydifferent contexts, as well as in certain works of estab -lished Croatian architects of the older generation. Thisis undoubtedly due to influences of contemporary Ger-man architectural publications and popular Expressio-nist films, whose set designs were often created by

distinguished architects.55 Moreover, Zagreb’s dailynews papers continually published illustrated reportson important new buildings in Germany. Reports onnovelties in German architecture were much more fre-quent than reports from other countries (France, Italyor the Netherlands), and were rivalled in number onlyby news from the United States of America, whose sky-scrapers fascinated Croatian readers. Especially fre-quent were reports on the works of Fritz Höger, likethe Anzeiger building in Hannover56 or the designs for


55 Such as Poelzig, Reichmann, 1997; Scheunemann 2003, 1– 31.

56 *1928b, 4.

17. Ignjat Fischer, City Café,drawings of the interior, 1929.


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the church57 and Sprinkenhof in Hamburg,58 as well as on Poelzig’s works (Kolosseum59 and Funkhaus60 inBerlin, Farbwerke Hoechst AG in Frankfurt-Höchst61), but there were also reports on designs of less famous architects such as Jean Krämer’s Betriebs-hof Müllerstraße in Berlin’s neighbourhood of Wed-ding.62

The key Zagreb architect unrelated to Behrens’s orPoelzig’s circle displaying an inclination toward Ex-pressionism was Ignjat Fischer (Zagreb, 18 June 1870–19 January 1948),63 designer of the interior of the CityCafé situated at Ban Jelaeid Square in the centre of Za-greb. The Café was set up within the spacious building

of the City Savings Bank, constructed in two buildingcampaigns: the older, southern part of the building wasconstructed in 1923– 25, while the northern, compris -


57 *1930d, 7.58 *1927e, 8.59 *1927a, 9.60 *1930g, 4.61 *1931a, 435.62 *1927c, 9.63 Fisher embraced Expressionism probably under the in-

fluence of younger associates in his architectural studio,possibly of architects Milovan Kovaeevid and SlavkoLöwy. Radovid Maheeid 1999, 29– 30; Bagarid 2011, 259.

18. Ignjat Fischer, City Café,1929 – 31, interior.


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ing the Café, a few years later, in 1929– 31.64 In his design of the façade Fischer employed the same Neo -classical conception on both parts of the building, butmoved towards Expressionist form in designing the interior, which remains the best example of Expressio-nism in Croatian architecture (it has been preserved butlater adaptations partially modified the original set-ting). The Café extends over the ground floor and themezzanine, forming a tall, unified space interrupted byfour massive concrete pillars carrying two galleries(Fig. 17, 18). It far surpassed all other cafés in Zagreb insize and grandeur. Newspaper articles reveal Pragueand Berlin cafés as models for the design of this inte-rior.65 However, it remains undetermined whether Fischer used a specific café interior as a direct model forhis building. Dynamic volumes of galleries and stair -cases, pillars with banana tree shaped capitals, as wellas illumination within the capitals, once again suggestthe influence of Poelzig’s architecture, in this case of his most famous work, the Grosses Schauspielhaus inBerlin.66

The Café was built owing to the efforts of the Zagrebmayor Stjepan Srkulj and the president of the City Sav -ings Bank Rudolf Erben,67 which is a clear sign that bythe end of the 1920s public institutions finally startedaccepting new tendencies in architecture.

The Milinov Hotel and the influence of Backstein -expressionismus

Almost contemporarily to the beginning of the con-struction of the wing of the City Savings Bank with theCity Café, another building characterized by elementsof Expressionist architecture was erected on the cornerof the Gajeva Street at the western side of the Ban Je-laeid Square: the hotel and department store owned bySvetozar Milinov, designed in 1928– 3068 by DionisSunko (Sisak, 30 September 1879– Zagreb, 21 Decem-ber 1935).69

For »marketing and commercial reasons«,70 the hotelwas crowned by a tower on the corner towards the Gajeva Street, originally incorporating a large neon signof the Milinov company. The tower facades were ini -tially not covered with plaster but had bricks arranged

in ornamental patterns, directly inspired by Backstein-expressionismus. Unfortunately it was covered withplaster at a later time, but the Expressionist triangularpilaster strips (also applied on the façades of the fifthand the sixth floor) were preserved. The decoration ofthe ground floor and mezzanine façades, as well as ofthe remaining floors and the interior, is mostly remi-niscent of Art Deco buildings (Fig. 19). The sources of Sunko’s Expressionist motifs applied

on the Milinov Hotel cannot be precisely determined.The tower shows certain similarities with the façade of the famous administrative building of the Stumm-Konzern in Düsseldorf designed by architect Paul Bo-natz (1922– 24) and with the works of Fritz Höger aswell as Backsteinexpressionismus in general, althoughthe influence of Drago Ibler’s designs cannot be over-looked.After its completion, Sunko’s building with its 40-me-

ter tall tower was the highest non-religious structure inZagreb,71 lit in a modern way in order to be visible tocity visitors from the main train station.72 Even thoughthe building cannot be characterized as a skyscraper, itis a reflection of a desire for the construction of tallbuildings present in Zagreb as well as in the majorityof other European cities of the period.

Expressionist designs for the Foundation hospitalblock and opposition to the »creation of Berlin« inthe heart of Zagreb

Sunko’s Milinov Hotel marked the beginning of the re-construction of the south-western part of Zagreb’s BanJelaeid Square. Contemporarily to the completion ofthis building in 1929, Zagreb city government decided


64 Bagarid 2010, 214– 222; Enes 1929, 26; *1931h, 6; *1934:15, 27. Pitarevid, Tomljanovid, 1984, 19, 21, 27.

65 Enes 1929, 26.66 Bagarid 2010, 219– 222.67 Enes 1929, 26.68 D. 1928, 7; *1930c, 2.69 About Sunko see Bagarid 2002, 160– 170.70 En. 1929, 6.71 *1929d, 4.72 *1929a, 5.


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to carry out the destruction of the neighbouring spa-cious Neoclassical Foundation hospital building and toinvite tenders for the construction on this plot. Twenty-five designs, mostly Modernist, were submitted. BothDrago Ibler and Zdenko Strižid submitted designs characterized by the architectural expression of the In-ternational Style,73 although Strižid’s design displayscertain features related to the architecture of the 1920s,namely the accentuated cornices of the building. Only

a smaller number of submitted designs contain Ex-pressionist motifs – for example the one submitted byStjepan Planid that is probably derived from Viennese


73 Radovid Maheeid 2007, 215– 222; Blau/Rupnik 2007, 130– 141; Bjažid Klarin 2010, 322 – 355.; *1930a, 5; *1930b, 8.Certain designs bear a strong resemblance to the designssubmitted for the Dresdner Anzeiger building architectu-ral contest. http://www.das-neue-dresden.de/hochhaus-wettbewerb-1925.html, accessed 30 October 2014.

19. Dionis Sunko, Milinov Ho-tel, the Ban Jelaeid Square 16,Zagreb, 1928 – 30.


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Siedlung architecture of the 1920s (Fig. 20). It is symp -tomatic that it was not among the awarded. The supre-macy of Modernism in Zagreb was absolute at the time,so Ibler’s design, despite being most radically Moder-nist, was taken as a starting point for the regulation ofthe block.74 However, the Foundation block would notbe built completely according to the said design. Theconstruction had been stalled for several years, enab-ling a number of architects to draw a series of designsproposing their ideas. Josip Pieman returned in 1932 tothe problem of the Foundation block in collaborationwith the architect Josip Seissel (Fig. 21). This was oneof the last designs in Croatian architecture of the inter-war period to contain Expressionist features (imposingpilaster strips on skyscraper, a large arch next to it).75

Regardless of the origin – either Expressionist or Modernist – of the motifs present in submitted archi-tectural designs for the Foundation hospital block, allof them were certainly marked by a strong influence ofcontemporary Berlin architecture, which caused dis -approval of some Zagreb critics. One of the city’s mostdistinguished architects and theorists of architectureAleksandar Freudenreich urged to »not create Berlin«in the centre of Zagreb.76 His views should be con -sidered in the light of events on the country’s politicaland cultural scene, since in Yugoslavia, constantly tornby national conflicts, even matters of architecture were

often regarded through the lens of nationalism. Thisprompted not only disinclination to the import of for-eign designs, which can be interpreted as a part of thestruggle for the market, but also an opposition to allelements of foreign culture considered non-national.Instead of »creating Berlin«, Freudenreich recom -mend ed that the buildings surrounding Zagreb’s mainsquare should carry »our« (i.e. Croatian) imprint.»Such structures [carrying Croatian national imprint]will always remain beautiful and valuable, since theystem from our feelings and our tradition. All foreign, it does bewilder at first, but soon afterwards becomesridiculous!«77

Berlin, on one hand, evidently represented a great model for Croatian architects, a symbol of modernity.All planned or newly constructed »metropolitan«build ings (such as the City Café) were compared toBerlin examples,78 but on the other hand, it was still a


74 Bjažid 2010, 328.75 The design is reproduced in Laslo 2011, 105. About col -

laboration between Seissel and Pieman see Mikid 2010, 348– 359.

76 Freudenreich 1930, 8 – 9.77 Freudenreich 1930, 8 – 9.78 For example, a large cinema and modern film studio was

planned in the centre of Zagreb, inspired by the Gloria Pa-last in Berlin. *1927b, 5.

20. Stjepan Planid, design for theconstruction of the Foundationblock in Zagreb city centre,1929.


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capital of a foreign city, a symbol of German culture,at the time preferably kept at a distance.

Conclusion

Although Expressionism in Croatian architecture re-mained mostly confined to architectural designs, witha small number of constructed buildings, it still repre-sents an important segment of its history during the interwar period. Precisely those architects who weremost ardent advocates of Expressionism in the 1920s,were to become pioneers of modern architecture whose designs would completely transform Zagreb and

other Croatian cities in the decades to come throughnumerous anthological works of the InternationalStyle.79


79 The article was translated into English by Tanja Trška,PhD, University of Zagreb, Faculty of Humanities andSocial Sciences, Art History Department and the sum-mary was translated by Rikard Puh, PhD, from the sameFaculty. This work has been fully supported by the Cro -atian Science Foundation project Croatia and Central Eu-rope: Art and Politics in the Late Modern Period (1780–1945).

21. Josip Pieman and Josip Seissel, design for the construction of the Foundation block in Zagreb city centre,1932.


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Zusammenfassung:

Obwohl der Expressionismus in der Geschichte derkroatischen Architektur in der Zwischenkriegszeitnicht so tief verwurzelt, bedeutend und verbreitet wiein Deutschland war, erkennt man Züge dieser archi-tektonischen Stilrichtung an zahlreichen Projekten.Kroatische Architekten verwendeten expressionis -

tische Formen zwischen 1922 und dem Ende der1920er, einige noch in den 1930er Jahren. Der kroa -tische Expressionismus zeigt sich vornehmlich beein-flusst von der österreichischen und deutschen Archi-tektur und sowie als Reflexion des Einbruchs der Mo-derne und nicht als Folge des chaotischen Nachkriegs-klimas oder wirtschaftlicher Probleme. Die Architek-ten des kroatischen Expressionismus waren keine homogene Gruppe. Sie wurden lediglich durch das Be-streben verbunden, die Architektur an die neue Welt,die neuen Bedürfnisse und technischen Möglichkeitenanzupassen.Zwei Architekten trieben die Entstehung des Expres-

sionismus in der kroatischen Architektur kräftig voran– Hans Poelzig und Peter Behrens.Bei Poelzig wurden drei kroatische Architekten aus-

gebildet: Drago Ibler, Zdenko Strižid und Josip Pieman.Von besonderer Bedeutung ist das Schaffen von Ibler,der zahlreiche expressionistische Projekte entwarf, wo-von die Mehrheit unverwirklicht blieb. Hervorragendsind seine Entwürfe für das Institut für Epidemiologie(1922), das Gebäude des Bezirksbüros für Arbeiter -versicherung (1923) sowie die Höhere Handelsschule(1928) in Zagreb. Iblers wichtigste Realisierung aus den1920er Jahren ist jene des Innenraums des Pavillons fürden Theaterauftritt des Königreichs der Serben, Kro -aten und Slowenen bei der EXPO 1925 in Paris. Zwi-schen 1926 und 1943 stand Ibler der Architekturabtei-lung der Zagreber Akademie der bildenden Künste vor,wo man zahlreiche Architekten ausbildete (u.a. StjepanPlanid).Behrens wirkte auf das Aufkommen des Expressio-

nismus in der kroatischen Architektur durch seineSchüler von der Wiener Akademie der bildenden Küns -te (Wichtigster von ihnen war Juraj Neidhardt) sowiedurch die Teilnahme am Bau des Städtischen Schlacht-hauses in Zagreb. Behrens trat als Gesandter des Ber -

liner Architekten Walter Frese auf, nach dessen Projektdieser Komplex gebaut wurde (1929– 31).Unter den älteren vom Expressionismus beeinflussten

Architekten aus Zagreb ragt Ignjat Fischer heraus, der– wohl inspiriert durch das bekannteste Werk von Poelzig, das Große Schauspielhaus in Berlin – den In-nenraum des Städtischen Kaffeehauses auf dem Jelaeid-platz schuf (1929– 31).Auf dem gleichen Stadtplatz in Zagreb wurde beinahe

zur selben Zeit (1928– 30) auch das ein Kaufhaus ein -schließende Hotel Milinov erbaut. Dieses nach demProjekt von Dionis Sunko konstruierte Gebäude ent-hielt in der Gestaltung des Werbeturms ursprünglichElemente des Backsteinexpressionismus. Mehrere Entwürfe, die ebenfalls Elemente des Ex-

pressionismus beinhalten, entstanden zudem Anfangder 1930er Jahre im Kontext der Erbauung des Stif-tungsblocks in Zagreb (Projekte von Josip Pieman, Jo-sip Seissel und Stjepan Planid).

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*1929d: Moderna gradnja na Jelaeidevom trgu (ModernBuilding at the Ban Jelaeid Square), in: Novosti 273, 1 October 1929, 4.

*1930a: Parcelacija i izgradnja prostora današnje Zakladnebolnice (Parcellation and Construction of the Site of Today’s Foundation Hospital), in: Novosti 10, 10 January1930, 5.

*1930b: Bazar Jelaeidevih trgova u gradskoj vijednici (Bazaar of Ban Jelaeid Squares in the City Hall), in: Jutarnjilist 6442, 10 January 1930, 8.

*1930c: Sveeano otvorenje novog hotela na Jelaeidevomtrgu (Grand Opening of the New Hotel at the Ban JelaeidSquare), in: Veeer 2744, 20 January 1930, 2.

*1930d: Neobiena crkva u Hamburgu (A Curious Churchin Hamburg), in: Veeer, 2872, 25 June 1930, 7.

*1930e: 45-godišnjica zanatlijskog i pomodniekog društva uZagrebu (Forty-Five Years of the Craftsmen and Journey-men Society in Zagreb), in: Novosti 175, 27 June 1930, 5.

*1930f: Dom zanatlijsko-pomodniekog društva gotov(House of Craftsmen and Journeymen Society Completed),in: Novosti 240, 31 August 1930, 5.

*1930g: Novi berlinski »Funkhaus« (New Berlin »Funk-haus«), in: Jutarnji list 6777, 14 December 1930, 4.

*1931a: Illustration, in: Hrvatska revija IV/8, 1931, 435.

*1931b: Sokolski dom prijestolonasljednika Petra (PrincePeter’s Sokol Training Centre), in: Novosti 194, 16 July1931, 5.

*1931c: Zagreb de dobiti još jednu golemu i monumentalnupalaeu (Another Huge and Monumental Palace for Zagreb),in: Jutarnji list 6986, 16 July 1931, 8– 9.

*1931d: Sokolski dom u Zagrebu poeet de se graditi naproljede (Sokol Training Centre in Zagreb to Be Construc-ted in Spring), in: Jutarnji list 6988, 18 July 1931, 4.

*1931e: Otvorenje gradske klaonice (Opening of the CitySlaughterhouse), in: Jutarnji list 7093, 31 October 1931, 4.

*1931f: Klaonica na Lašdinšdaku (Slaughterhouse at Laš-dinšdak), in: Jutarnji list 6886, 4 April 1931, 36– 38.



86

*1931g: Sveeano otvorenje gradske klaonice (Grand Open -ing of the City Slaughterhouse), in: Veeer 3276, 30 October1931, 3.

*1931h: Nova velegradska kavana u Zagrebu (New Metro-politan Café in Zagreb), in: Novosti 339, 8 December 1931,6.

*1934: Gradska štedionica opdine slobodnog i kraljevskogglavnog grada Zagreba 16. 3. 1914.– 16. 3. 1934. (City Savings Bank of the District of the Free and Royal CapitalCity of Zagreb 16 March 1914 – 16 March 1934), (Zagreb,1934).

*1991: Juraj Neidhardt, Rad Hrvatske akademije znanosti i umjetnosti 437 (Zagreb 1991), 74– 79.


Photo credits:

1– 3: MAC, Zagreb, inv. n. m20610/1-4. – 4 – 5: Photo album of the Kingdom of Serbs, Croats and Slovenes at the 1925 Ex-position internationale des Arts décoratifs et industriels modernes in Paris, Library of MAC, Zagreb. – 6: Drago Ibler, Sa-vremena arhitektura (Contemporary Architecture), in: Novosti 141, 23 May 1927, 4. – 7: Željka Eorak, U funkciji znaka.Drago Ibler i hrvatska arhitektura izmegu dva rata (In the Function of a Sign. Drago Ibler and the Croatian Architecture be -tween the Two World Wars) (Zagreb 1981), 77. – 8: Directorate for the Protection of Cultural Heritage of the Republic ofCroatia, Zagreb, Designs Collection. – 9, 12: Stjepan Planid, Problemi savremene arhitekture (Problems of ContemporaryArchitecture) (Zagreb 1932). – 10, 13 – 14, 20: Stjepan Planid, Ernest Tomaševid [ed.], Graditeljska izložba (Builder’s Exhibi-tion) (Zagreb, 1930). – 11: photo by author. – 15: Paul Joseph Cremers, Peter Behrens. Sein Werk von 1909 bis zur Gegen-wart (Essen 1928), 156. – 16: photo Filip Beusan, Klovidevi dvori Gallery, Zagreb. – 17: Enes. [Nikola Smoleid], Kako de iz-gledati drugi dio palaee Gradske štedionice? (What Will the Other Part of the City Savings Bank Look Like?), in: Novosti285, 13 October 1929, 26. – 18: Zagreb City Museum, inv. n. 14181. – 19: photo Vladimir Horvat, 1930, Ministry of Cultureof the Republic of Croatia, Zagreb, photo collection, inv. n. 249, neg. V-249. – 21: Aleksander Laslo, Scenografija za Poirota:okvir slike vremena (Stage Design for Poirot: a Frame for the Image of the Period), in: Art déco i umjetnost u Hrvatskoj iz-megu dva rata (Art Deco and Art in Croatia in the Interwar Period) (Zagreb 2011), 105.


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