of Bosnian man who had it skillfully shaped their everyday environment. In this design were created some of the most beautiful examples of vernacular art and architecture. With few resources old builders have been able to express great creative power, which tended more to the inner content and less on the volume and effects. Perhaps the best verse folk songs bring national creative core of the problem: " The tower build, and stone missing. My tower, with a song it was built. " 2

Just this, as Neidhardt says, the sensible component played had a significant role in the creative process of our man. Numerous "singing" fortress walls, towers and bridges testify to their honesty and builders need to be taken back to the nature of simplicity of form, which become an inseparable part of the natural environment - a link between spirituality and human nature transformed into harmony stability.

Respecting the material taken from nature builders are skillfully used mostly small stone pebble, because it small measure provides the intimacy of the surface "from which radiate host, we would say folk mood". 3 If we neglect the historical and archaeological interpretations of the origin and the background of tombstones called 'steeak', as well as permanent turmoil whose are those and to whom belong, can not be diminished to their artistic uniqueness. Many scenes and views in the form of reliefs on the flat surfaces of the cubic form of stone monument clearly shows the analogy with cave drawings. These reliefs ­drawings on a specific, abstract way testify about the life of a man which remained permanently recorded on the stone surfaces, backing him all the way to the death. Old cemeteries in Bosnia and Herzegovina (Fig. 1) have become a kind of monument to human spirituality recorded in modest mute stone monuments "on which could learn the most contemporary sculptors". The modesty of these stone shapes efface their content and messages that are much bigger and stronger than their size, because they represent the creative force with which each religious community knew how to express their shape individuality. The people who created this were "adjustable and talented enough to take environmental actions, but so self-conscious, that doesn't speak like the others, but is expressed in their own way" , as confirmed centuries records of life on the stone.

Figure 1,

a. Jewish cemetery in Sarajevo h. Muslim cemetery c. Tombstones - steed - 'stone sleepers', Radimlja in Herzegovina d. 'Month at hand' motif at nisan (islamic headstone) - as eternal aspiration of man to separated from the ground e. Stone crosses the Orthodox cemetery

Although difficult to handle, which was not possible without metal tools, stone remained a symbol of creativity, which is transformed into a significant achievement of the cultural heritage. The secret of this achievement of the primitive man lies "in his spontaneity, sensuality and religion" , which allowed him to remain in conjunction with the nature of

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which is dependent. The functions of man and nature are characteristic caused agglomeration of old Bosnian cities (Fig. 2), which speaks of man's nature is shaped by hand. Rarely that architectural culture, said Neidhardt, is so pure, almost geometric, such as the bosnian­herzegovinian architecture. Hemisphere, cylinder, cube, prism, etc. have become the basic compositional elements. Vertical elements - towers, minarets, tombstones and horizontal ­streets, bridges, represent the unbreakable stone clamp between the nature that overcome and the human spirit that emiches.

Figure 2,

a. FOliress in Travnik b. Bridge in Visegrad - a connection between two coasts c. View of the renewed Pocitelj (Herzegovina) d. Family house in Pocitelj e. View of Mostar's Old bridge over the Neretva with the towers f. Tower up Mostar's Old Bridge g. Dobricevo monastery, was transferred to the slopes above the lake Bileca

The use of stone has been applied in the sacred and folk art (altars, stone altar partitions, rosettes, baptistery, pulpit, fountains, wells, stone vessels, furnaces), and the objects of use in the household and crafts (hearth, vessels for food storage, stone mill wheel for cereals, olives, etc.). Folk ali objects were often made in the spirit of pure functionalism and aesthetics while remaining simple "as the norm, a measure of which is the standard of man's ancestor - a savage".

Exhaustive research of Bosnian-Herzegovinian culture and tradition that shortly before the Second World War began to work and after the war continued Dusan Grabrijan and Juraj Neidhardt, published in the book "Architecture ofBosnia and the way towards modernity" in 1957, was a significant starting point for understanding the region, mentality, folk customs and architecture. Like Ernst Lichtblau, student of Otto Wagner, who in 1904 was on a study tour in Bosnia and on this occasion in the architecture of the Bosnian house discovered elements of the new architecture, Neidhardt has also found a foothold in the motifs of vernacular architecture that skilfully applied in the architecture projects of modem expression. Coming from a source of modem architecture, from the bureau of Le Corbusier, where they fervently supported the most progressive ideas of modern architecture, Neidhardt in Bosnia discovered the potential of traditional architecture. Modem architecture of the International Style, which aimed to uniformity, regardless of the local tradition, climate and region, experiencing a transformation in the projects of Neidhardt merging with traditional architectural elements and materials. The stone which was pushed back by new materials that

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promoted modem architecture has remained present in the project during the early postwar renewal and reconstruction in Bosnia and Herzegovina.

Application of stone in post war architecture of Bosnia and Herzegovina

The architectural helitage of Bosnia and Herzegovina was primarily marked by the traditional architecture that was built during the Ottoman Empire under the influence of the Orient, and after the annexation of the Austro-Hungarian Empire architecture is characterized by western European stylistic expressions. Following models based on historicism and Art Nouveau were used pseudo-Moorish elements, and have revived elements of the vernacular architecture. How classic styles in Bosnia had no tradition, the eclectic method of the architectural expression enabled the creation of a wholly new style, which was based on the rich language of vernacular architecture and heritage. Just in this period will be set up an original and comprehensive architectural expression, that's early Modem, or so-called "Bosnian style", "and the spirit of this belief will remain the constant of contemporary Bosnian-Herzegovinian architecture and the reason of polarity of its artistic expression until today." Research of early Bosnian-Herzegovinian modem architecture is theme for itself, but it is important to note that during this period were merged traditional and new - modernist architectural expressIOns.

The period between April 1941 and May 1945 was a four-year period devastation and destruction. Bosnia and Herzegovina has been the scene of bloody battles, the enemy offensive, and place the most important events related to the establishment and growth of a new Yugoslavia. 10 At the end of the war in Yugoslavia, Bosnia was ravaged and impoverished. This was followed by a period of renewal and material options were insufficient, scarce building materials and a modest number of experts.

In those years of very scarce information about the events on the international architectural scene, understanding of the tradition and cultural heritage was an important item that is strongly influenced by the work of many architects. Fully focused on the creation of the new architecture, both experimenting with materials, construction and form, the Bosnian architects drew inspiration from the natural surroundings and vibrant context, painted by a powerful cultural pluralism. Finding elements of modernity in the traditional architectural heritage, looking at the interaction of rich natural context with traditional architecture and local materials, the architects who were acting in the spirit of the modernity left a special mark on their projects guided by the universal quality of the local tradition. The Bosnian­Herzegovinian architects due to poor economic opportunities, lack of contemporary building materials and the very distinct local architectural traditions, expressed a desire to "positive and useful architectural values of heritage transferred to contemporary architecture" 13,

although "the modem artist has no need for a thorough historical retrospection, because he a

priori rejects the past".l The authors of the book "Architecture of Bosnia and the way towards modernity" wanted to show the way by which we could eventualy arrive to our "own new architecture", or to "Balkan pole in architecture" near already formed architecture poles in the world.

In the sequel of this paper will be analyze several typical buildings of modern expression where the stone has been used as traditional stone construction techniques. Using traditional materials was common particularly just after the war and during the fifties of the last century, because of the deficiency of new materials and of the great need for new facilities. Shortage of construction professionals, especially educated and without knowledge of new construction

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techniques with contemporary materials, have also caused frequent use of traditional materials and methods of construction that were the easiest, the fastest and which are able to perform local builders. As the stone was always enough so it's served as the basic and generally the only building material for plinths of buildings, underpinning of buildings, overcoming the slope of terrain, access ramps, retaining and main walls, etc.

Ski Chalet or Ski home on Trebevi6 (Fig. 3) built in 1947, represents one of the most beautiful buildings of Bosnian architecture built on the principles of tradition and modernity, which unfortunately no longer exists. Architect Juraj Neidhardt has succeeded "in that post­war period of scarcity of materials and resources, with its huge enthusiasm, knowledge and feeling for the continuity of traditional architecture, he had accomplish the work in which he brought together the beauty of filigree tameness of local vernacular architecture, and at the same time he gave it an expression of great european architecture of the time in which it occurred." 1 Unconcern of our society, which often loses "the connection and continuity with the time, space and feelings, from the individual to the whole society" 1 , this according to many pearl-building, was burned and was never rebuilt, to the detriment of cultural heritage. "The house is built of such materials which can be obtained on the spot itsesf i.e. of wood and stone, and on the constmction methods of the old builders, the ground floor is made of stone... which is a good example of how it is possible to utilize indigenous elements in a modem stmcture" 1 , explains Neidhardt whom Le Corbusier was warned about the values of the old residential architecture in the Balkans. The ski house, with views of the ski jump on the hill above Sarajevo, is an example of universal state of mind in post war years which was turned towards a new future in spite of the bad financial situation.

Figure 3, Juraj Neidhardt, Ski Chalet or Ski home on Trebevi6 above Sarajevo, 1947

On the objects from 1947 - Housing blocks in Duro Dakovi6 street in Sarajevo (implemented from 1947 to 1958, Figure 4), the workers' house for unmarried workers (Fig. 5) and unmarried workers house with restaurant, bowling alley and terrace in Vares, Fig. 6 (which are the same year completed) by architect Juraj Neidhardt ~ ashlar stone was used to create the retaining wall of building and the access ramp and also for the pedestals (socle) of housing blocks (Figs. 4 and 5), and on the unmarried workers house, whose construction has been of ferroconcrete, which was a kind of privilege during that time, on perimeter fences, retaining walls and "on the ground-floors, wherever it has been possible, the walls were are built-up of broken stones" 1 (Fig. 6).

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Figure 4, Juraj Neidhardt, Housing blocks in Duro Dakovic street in Sarajevo (today Alipasina Street),

realization 1947-1958

Figure 5, Juraj Neidhardt, Workers' house for unmarried workers in Yard, 1947

Figure 6, Juraj Neidhardt, House for unmarried workers with restaurant, bowling alley and terrace in

Vares, 1947

Architect Muhamed Kadic was designed by several characteristic farm buildings, one of which is allocated the stables for sheep on Kupres field from 1948 (Fig. 7). Unfortunately, there is little surviving information about this building of specific form with accented roof structure. Traditionally built low stone walls with small openings because of the harsh climate, covering dynamic roof structure expertly constructed of wooden beams. This building is an example of modernized traditional dinar chalet.

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Figure 7, Muhamed Kadic, Stables for sheep on Kupres field, 1948

Neidhardt's preliminary design for a tourist restaurant at the source of Bosnia river from 1948 (Fig. 8) needed by its purpose to be in the group of smaller facilities, designed in the manner to the farmhouse and located in natural surrounding "in order to represent the groundwork of Bosnian and Herzegovinian tourist facilites, ... and that in tenns of picnic (te/eric) cult" 1 •

Stone was the most appropriate material for overcoming slope of terrain, underpin of building and for all retaining walls, because it is planned to adapt the building to the ground through a stepwise of building volume sequencing. In the conceptual view are clearly outlined all the stone building segments as well as integration in the lively ambience. Base of the stone has enabled the fonnation of lighter construction more open first floor.

Figure 8, Juraj Neidhardt, Conceptual design for a tourist restaurant at the source of Bosnia river, 1948

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Family house in Konjic from 1952 (Fig. 9), author Andrija Ciein-Sain is a continuation of the Neidhardt approach 20 in the design of houses. Objects of Ciein-Sain were done in complete subordination of natural and traditional ambience and also to the man, to his needs and habits. Emphasized horizontality of cubic shape, hipped roof, ground floor built from stone pebbles that deposited the river of Neretva in the vicinity, are lessons that CiCin-Sain could draw from nature and ambience of Konjic. In a similar way CiCin-Sain build three residential buildings next to the mosque on Didikovac in Sarajevo from 1953 (Fig. 10). Two lower cube shape objects with a hipped roof, semi-circular connected with stone ground floor taking over the function of the wall facing to the street, rely again on a traditional style building and are on the trail of the house in Konjic. The third structure provides vertical accent throughout the complex, it IS pure cubic shaped, articulated only by horizontal rows of windows and balconies.

Figure 9, Andrija Ciein-Sain, Family house in Konjic, 1952

Figure 10, Andrija CiCin-Sain, Residential buildings next to the mosque on Didikovac in Sarajevo, 1953

Two smaller unrealized one storey building of Juraj Neidhardt, an elementary school in Blatusa near Zenica project of 1954 (Fig. 11) and cafe-restaurant in Kiseljak (alternative along the Drina river) project of 1965 (Fig. 12), connects the idea of a simple architecture for

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_ ____

human - within reach and penetration interior space and the local environment. All the main walls are of broken stone, traditionally built, which is due to the low height range of the building and allow for greater and more complete opening of the other side. The school is treated to pavilions and with partitioned spatial scheme. Longitudinal front entry side is contained, and in the courtyard, where the two pavilions housed four classrooms, is completely open. This has enabled a full lighting and opening of classrooms to the backyard and nature. By the project for the coffee-restaurant, forming two circumferential stone wall, was obtained covered outdoor area garden of restaurant with an open stone fireplace in the center. With simple structure of space, form and materialisation is enabled the integration of this building in the natural surrounding, while at the same time building does not violate the ambience.

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Figure 11, Juraj Neidhardt, Conceptual design for elementary school in Blatusa near Zenica, 1954

141

Figure 12, Juraj Neidhardt, Conceptual design for cafe-restaurant in Kiseljak (alternative along the Drina

river), 1965

The competition project from 1955 for the new building of the National Assembly of People's Republic of Bosnia and Herzegovina (by the new competition realized in 1976) Figure 13, Juraj Neidhardt was proposed representative implementation of stone cladding in the interior and on the facades as a "symbo1 of awareness and resistance in the form of the tombstones (steeci)" where is "in the form of stone lace carved out the entire history of the Yugoslav people, from the tenebrous past and slavery through the Liberation to the days of reconstruction and rehabilitation".2! With this project the author returns further to the past and for a cloth of the building search a model in mystical architecture and proc~ssing of stone tombstones as a symbol of the common source.

Figure 13, Juraj Neidhardt, Competition winning design project for the new building of the National

Assembly of People's Republic of Bosnia and Herzegovina, 1955

During the seventies, when the Bosnian-Herzegovinian architecture has greatly progressed quantitatively and qualitatively, the traditional use of stone is not completely clisappeared. In this fourth period of development 22 of the Bosnian-Herzegovinian contemporary architecture of modem expression, the use of new advanced building materials was significantly present. This is the period when were already working numerous local construction companies and factories for new builcling materials whose quality has been on the rise the world level. Although the financial and social circumstances were quite favorable, and the architecture

142

progressed significantly, the use of stone found special application in the individual projects of 1. Neidhartdt. These are projects of specific purpose, mainly tourism and recreational character which are located in a picturesque natural setting of Bosnia and Herzegovina. The typical example for the urban-architectural project is a plan for ethno-park (1968 - 1974) which was partially realized on the slopes of the dam lake Bileca. At this location is a necropolis with hundreds of tombstones taken from the riverbed Trebisnjica and around it is wrapper of the rural and urban material culture of the Herzegovinian past. Stone agglomeration of ethno-park in Bileca (Fig. 14) consists of several buildings of tourism purposes (local history museum, tourist house, motel, lapidary, botanic garden). All the buildings are made of stone, with a traditional technique of drywall construction, roofs are also covered with stone slabs representing a sort of "artifacts of the past"?3 Neidhardt was gave similarly a proposal for fishfood restaurant with a terrace in Zvomik (1975), with views of the river Drina through perforated holes in the old part of the fortress (Fig. 15).

Figure 14, Juraj Neidhardt, Stone agglomeration of ethno-park in Bileca on the slopes of the dam lake,

1968-1974, model

Figure 15, Juraj Neidhardt, Idea for fishfood restaurant with a terrace in Zvomik, 1975, model

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-

The stone as a reflection of steadiness and link of the continuity

Because of the complexity of the historical, socio-political and cultural circumstances the development of architecture in Bosnia and Herzegovina could not have the necessary continuity. Development that is based on historical principles, "but it does not mean continuity, but establishes a creative dialogue with what the time has already defined as a universal quality" 2 , has basically heritage. The architecture of modem expression after the Second World War has been developed in this discourse, especially in the work of Jliraj Neidhardt and the first generation of architects who created under the influence of the modem movement. Although in the book "New Architecture 0/Bosnia and Herzegovina/rom 1945 to 1975" Academician Ivan Straus believes that "for a ShOli time such an approach in architecture fell into mannerism available to every possibly technically educated individuals" 2 , referring to the objects on which are applied elements from "the registry of Bosnian poles of modem architecture", can not be fully argued that this approach has been the creation of strict regionalism in architecture. Given the poor financial capabilities, the consequences of destruction and the huug need for reconstruction and new buildings, architects gathered around Neidhardt, found their footing in the universal qualities that are valorized tradition throughout history. With the progress of time and architectural thought, access to modem architecture is inevitably changing and adapting, while the post war Neidhardt approach was remained as verification the continuity of the history of a specific region.

The use of stone in architecture of modem expression was a necessity on the one hand, and on the other a reflection of steadiness of architectural tradition which was transposed through the time and kept its basic characteristics. Stone walls in projects of the modem architects were often found in the same surrounding with settlements of vernacular architecture of bygone epochs by speaking a common language of simple expression of flat surfaces. Deficiency of new materials, experts and construction technology has caused that the use of stone retaining a celiain time. Because the stone was enough, it was often an adequate replacement for the plinths of buildings what enabled that superstructure be lighter and more open. In this way it was possible to form an open or free plan and large openings. Extracted from the local natural environment, traditionally processed and embedded, the stone was used mainly on small buildings of residential, recreational or commercial purposes, which were placed in the locations with often extremely natural and ambience characteristics. The application of stone was certainly temporary but enough suggestive to keep a link between nature and continuity of the human spirit.

Post Scriptum: stone in contemporary architecture of Bosnia and Herzegovina

Project of Croatian architects Tomislav Curkovi6 and Zoran Zidari6 (Studio DV A Arhitekta) for the family estate in Herzegovinian place Bijaca, from 2011 (Fig. 16), speaks of an ongoing relationship of men with nature and tradition. Architectural language of the complex is pure and elementary, adjusted to the hand of local builders. The use of local stone in contemporary architecture is a true reflection of the constancy of architectural tradition suited to the needs of modem man.

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Figure 16,

Studio DV A Arhitekta: Tomislav Curkovi6 and Zoran Zidari6

Family estate, Bijaca, Bosnia and Herzegovina, 2011

Photo: Robert Les

References

Akademija nauka i umjetnosti Bosne i Hercegovine obiljeiava stogodisnjicu (1901-2001) rodenja akademika Juraja Neidhardta (oktobar, 2001). (Academy of Sciences and Arts of Bosnia and Herzegovina marks the centenary (1901-2001) of the birth of Academician Juraj Neidhardt, October, 2001). Exhibition catalog (editor: prof. Zlatko Ugljen). Sarajevo: Akademija nauka i umjetnosti BiH, pp. 4.

Neidhartd, Juraj. "Trajanje" (Velue of permanency), Arhitektura-urbanizam (Belgrade), no. 64-65 (1970), pp. 49. .

Neidhartd, Juraj. "Turisticka bosansko-hercegovacka magistrala" (Tourist Bosnian­Herzegovinian main road), Arhitektura (Zagreb), no. 113-114 (1972), Offprint booklet, pp. 64.

Neidhartd, Juraj. " Turisticka bosansko-hercegovacka magistrala" Arhitektura (Zagreb), no. 113-114 (1972), Offprint booklet, pp. 74.

Grabrijan, Dusan; Neidhart, Juraj. Arhitektura Bosne i put u savremeno (Architecture of Bosnia and the way towards modernity) (Ljubljana: DrZavna izlozba Slovenije, 1957), pp.20.

Neidhartd, Juraj. J) Turisticka bosansko-hercegovacka magistrala ", Arhitektura (Zagreb), no. 113-114 (1972), Offprint booklet, pp. 41.

Le Corbusier, Putovanje na istok (Journey to the East) (Loznica: Karpos, 2008), pg. 18. Ignjatovi6, Aleksandar. Jugoslovenstvo u arhitekturi (Yugoslav identity in architecture)

(Beograd: Gradevinska knjiga, 2007), pp. 247. Akademija nauka i umjetnosti Bosne i Hercegovine obiljei ava stogodisnjicu (1901-2001)

rodenja akademika Juraja Neidhardta (oktobar, 2001). (Academy of Sciences and Arts of Bosnia and Herzegovina marks the centenary (1901-2001) of the birth of Academician Juraj Neidhardt, October, 2001). Exhibition catalog (editor: prof. Zlatko Ugljen). Sarajevo: Akademija nauka i umjetnosti BiH, Text: prof. Dr Ibrahim Krzovi6, pp.20.

Kurto, Nedzad. "istonjske osnove bosansko-hercegovacke -rane Moderne" (Historical basis of Bosnian-Herzegovinian early Moderna) , De r~ Aedificatoria: Journal for the History and Theory of Architecture and the City, no. 1 (1990), pp. 96.

Nebojsa Antesevi6, "Bosanska kultura na svetskim izloibama: istorijska i savremena paradigma. Razvoj bosanskog od ideoloskog do savremenog arhitektonskog izraza ", (Bosnian culture at the World exhibitions: historical and contemporary paradigm. Development of 'Bosnian ' from ideological to contemporary architectural expression. Master thesis, defended at the University of Belgrade - Faculty of Architecture, 2011, pp.28.

145

Straus, Ivan. Nova bosanskohercegovacka arhitektura 1945 - 1975 (New Architecture oj Bosnia and Herzegovina Jrom 1945 to 1975) (Sarajevo: Svijetlost, 1977), pp. 9.

N. Antesevic, Ibid., pp. 29. D. Grabrijan, 1. Neidhart, Ibid., pp. 316. Kadijevic, Aleksandar. Estetika arhitekture akademizma (XIX - XX" vek) (Aesthetics oj

architectural Academicism, 19th and 20th Century) (Beograd: Gradevinska knjiga, 2005), pp. 274.

Kapetanovic, Jelica. "Po mjeri covjeka" (On a human scale), Odjek (Sarajevo), no. 15-16 (1987), pp. 11.

Antesevic, N. (22 January 2013) Arhitektura postojanosti - akademik Zlatko Ugljen (Architecture ojsteadiness - academician Zlatko ,Ugljen). Used: 07 February 2013 at

D. Grabrijan, 1. Neidhart, Ibid., pp. 340. D. Grabrijan, 1. Neidhart, Ibid., pp. 370. D. Grabrijan, 1. Neidhart, Ibid., pp. 344. 1. Straus, Ibid., pp. 26. D. Grabrijan, 1. Neidhart, Ibid., pp. 416. 1. Straus, Ibid., pp. 8., (The author of the book is the development of Bosnian architecture

after 1945 split into four periods: the first, from 1945 to the end of the forties; the second, beginning the fifties to the late fifties; the third, from the beginning of the sixties to early seventies; and the fourth period since the beginning of the seventies to mid-eighties of the twentieth century).

Neidhartd, Juraj. "Bastina i novo" (Heritage and newly), Arhitektura, no . 115 (1973), Offprint booklet, pp. IV

N. Kurto, Ibid., pp. 96. 1. Straus, Ibid., pp. 26.

Illustration

Figure 1: 1. Neidhartd, Turisticka bosansko-hercegovacka magistrala, Arhitektura, no. 113­114

(1972), pp. 34,41. Figure 2: 1. Neidhartd, Turisticka bosansko-hercegovacka magistrala, Arhitektura, pp. 35, 43,64,78. Figure 3, 4, 5, 6, 8, 11, 13: D. Grabrijan, J. Neidhart, Arhitektura Bosne i put u savremeno, pp.340,

341,368,369,363,372,345,346,384,417,418. Figure 7, 9: 1. Straus, Nova bosanskohercegovacka arhitektura 1945 -1975, pp. 22, 26. Figure 10: http: //muzej -rijeka.hr/andrij a-cicin-sain/projekti-stambeni -kompleks-didikovac­1953.htm1 Figure 12, 15: 1. Neidhartd, Vizuelni magneti, Odjek, XXVIII, 1-15 January 1975, no. 1, pp. 27. Figure 14: 1. Neidhartd, Bastinai novo, Arhitektura, no. 115 (1973), Offprint booklet, pp. IV Figure 16: Photo: Robert Les, http: //www.archdaily.coml190536/country-house-dva­arhitekta/

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