CONTEMPORARY REFLECTIONS OF TRADITIONAL FORMS IN ZLATKO UGLJEN'S OEUVRE

The relationship between modernity and tradition is complex and multifaceted, though not necessarily excluding. The idea of a creative synthesis of the contemporary and the traditional in the architecture of Bosnia and Herzegovina experiences its full recognition in Zlatko Ugljen's architectural solutions. Reliance upon the building heritage from the Ottoman period, monumental buildings of sacral type and residential architecture, together with a well-developed feeling for the spirit of the place has resulted in modernistic and postmodern recontextualizations. The origin of a creative and critical approach in traditional architecture defined through the thesis about building on continuity and spatial, formative and ambiental values of the traditional residential architecture defined by Islamic worldview are a permanent inspiration and a link between a modern architectural language and regional context in Zlatko Ugljen's oeuvre. The profound understanding of and the respect for the spirit of the place in the integration of contemporary concepts of form in town planning and architectural structures of ambiental value have been a hallmark of the author's approach, which is best illustrated by his own words: “To try to sneak in lying low, relaxed, silent and unobtrusive into the found building heritage” (Bernik, 2002: 28). References to traditional forms can be read at various levels, through the use of natural materials, mostly wood, organization of space, connection between exterior and interior, and harmonious dialogue with the environment.

Design of the Hotel “Bregava” in Stolac (1973–1975) is an example of a creative approach to building heritage which is reflected through mutual permeating of exterior and interior, unobtrusive integration with natural environment and the architecture of ambiental value of the residential complex “Begovina”. One of the crucial segments of Islamic architecture – the cult of water – draws origin from religious orientations, though at the same time water and its sound refine the space through harmony of the natural and the artificial. The author follows this principle in designing the Hotel “Bregava” by connecting modernist concepts with space-shaping and aesthetic values of the traditional residential architecture.

Design of the Hotel “Ruža” in Mostar (1974–1975) with references to inherited forms of residential architecture should be singled out as an architectural solution where one can recognize many layers and significance of the memory of the place as a determinant of shaping space. It is a concept which could be defined as modernization from tradition (Bernik, 2002: 21).

The author has made some of the most significant designs in the field of sacral architecture referring to building heritage. A special place in Ugljen's oeuvre is occupied by the architectural solution of Šerefudin's (White) Mosque in Visoko (preliminary design 1969, compleiton 1979), for which he was awarded the prestigious “Aga Khan” award in 1983. A new approach in modelling the exterior architectural forms is also reflected in the solution for interior, with reminiscences of the Hira cave. White color and light serving to orchestrate architectural composition are two basic elements for shaping space. Zenithal lighting is a symbolic intangible element of the concept of form at a formal and symbolic level and actively participates in the transformation of the appearance of interior. Conceived as a replacement for standard windows, five zenithal openings through which light comes in symbolize five fundamental postulates of Islam and five daily prayers. In the spirit of total design, the exterior architectural form is related to the design of interior, which is defined by usual elements of Islamic sacral architecture such as mihrab (niche), ćurs (pulpit) and sofa. Their sophisticated minimalist solutions which are also repeated in the form of shadirvan are characterized by a modernist principle of utter reduction of superfluous decorative elements. With its excelling values of shaping space and multi-layered symbolism, Šerefudin's (White) Mosque in Visoko is a worthy hommage to Le Corbusier and his design of the chapel in Ronchamp, which indicates that Zlatko Ugljen's architecture transcends local frameworks.

The more recent design of the Administrative Building of the Riyasat in Sarajevo (preliminary design 2007, completion 2022) relied upon the characteristic position of the Kovači plateau which, with its historical and typological features, connects Baščaršija in the valley with the residential area (mahala) on the slopes. The building whole encompasses a series of spaces for various purposes, particularly: offices of Raisu-l-ulama, deputy Raisu-l-ulama and muftis, conference rooms, reception hall, small masjid, small amphitheater for meetings and lectures. The concept of form establishes a dialogue with architectural surroundings of historical and ambiental significance, with Sarajevo tabijas (fortresses) and Jajce barracks, which reflect all the layers of building heritage of Bosnia and Herzegovina. Using the existing plateau with the abutment, the complex is shaped by emanating the composition of cubic volumes and cascade rhythm of building old Sarajevo amphitheater. Seven domes of different sizes which glide into each other (allegory of the seven heavens) cover the central hall, the staircase and the reception hall. As the dominant feature of the architectural complex, they also indicate striving for the connection with traditional domed public buildings from the Ottoman period. Perforations on the domes in different geometric shapes let light in and create a distinctive atmosphere in the interior, through ornamental motifs as reminiscences of arabesque-shaped Islamic decoration. Design of the Administrative Building of the Riyasat in Sarajevo is an outstanding example of a synthesis of the traditional and the contemporary, of modern and postmodern architectural expression.

All these elements indicate that “reading the old in the spirit of the new” (Sanković-Simčić, 2000) was the essential determinant of the creative process. By shaping humanized spaces where the man recognizes himself, the author skillfully balances between modern aesthetics marked by functionality, since he does not reject construction, and postmodernism, re-introducing the regional and the national, which though not definitely excluded, was largely neglected   in modernism (Musabegović, 2010).

Ugljen's attitude toward tradition and the past is characterized by a research procedure, profound reflection and recognition of universal values of traditional architecture through a respectful dialogue. The architect selects the approach depending on the character of the site and, through the process of adjustment, he unobtrusively connects the new architectural form with natural and urban environment with a well-developed feeling for genius loci, the spirit of the place, as one of the starting points in shaping new architectural structures. It ultimately results in the creation of harmonious ambiental and architectural compositions as a synthesis of old and new, while with a subtle approach to building heritage he creates contemporary spaces refined with the spirit of tradition. In the creative process, he seeks a synthesis through the ideal of universality and gives it his own authorial stamp. He always finds the right measure, and when referring to traditional forms he never falls in the trap of over-emphasizing the decorative and the folklore.

References:

• Bernik, Stane (2002), Arhitekt Zlatko Ugljen, Tuzla: Međunarodna galerija portreta.

• Sanković-Simčić, Vjekoslava, Integracija staro–novo, Arhitektura, raziskave, Architecture, Research, 2 (2000), 31-41.

• Salihović, Hamdija (2010), Arhitektura stvaralačka sinteza tradicionalno – savremeno, Sarajevo: Arhitektonski fakultet.

• Musabegović, Sadudin, „Humanizirani prostor, organski srastao s arhitektonskim objektom u kojem čovjek sebe prepoznaje“, Sarajevo: Oslobođenje, 29. 4. 2010.

• Ugljen, Zlatko, Ugljen-Ademović, Nina (2013), Sakralni prostori, Čapljina: Založba kralja Tomislava.

• Adorno, Theodor W., O tradiciji, http://portalplima.me/zeitgeist.php?tekst=221 (accessed on 26. November 2018).