Arena Zagreb The Zagreb Arena

Transcription

1 Arena Zagreb The Zagreb Arena Ingra d.d., Zagreb, 2008.

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3 MAROJE MRDULJAŠ MAROJE MRDULJAŠ Arena Zagreb, od stvaranja prema budućnosti The Zagreb Arena, from Creation to Future Svaka zgrada ima tri životna ciklusa koja su povezana u jedan vre- glazbenika ili velikih sportskih događanja napokon su dobila pri kladni prostorni okvir. Za njen je nastanak posebno važna koncep- Every building has three life cycles, linked into a single continuous temporal flow, but also clearly demarcated from each other, with their own entirely different characteristics. The first life cycle of a building refers to the initiative behind its foundation. It unfolds entirely in the sphere of idea and abstraction, in the considerations of the creators of the project, the client and the architects. Once the plan is fully completed, it is given over to the hands of the builder, the start of the second life cycle, in which the concept takes on physical form, the idea is transformed into a building body. Both the design cycle and the construction cycle start off from a tabula rasa of bare white paper or the bare soil of the plot on which the building is to spring up. Clients, architects and contractors are very familiar with that thrill when in every project they embark into the unknown, however much the procedures and processes in the creation of a building are known to them beforehand. And so every project is a story all by itself, for every building has its own unique life, its peculiarity, and ultimately its identity. When the building is completed, it enters into its third life cycle, in which it acquires its full meaning. Thus the two formative periods are over, and the long-lasting period of maturity begins, of participation in the life of the town and the community. But its prehistory will often remain concealed, its existence seemingly self-evident, as if the existence of some building were a given fact in and of itself. Sometimes the name of the architect will be remembered, sometimes that of the client, but for the users, the process that brought it into being has little or no meaning, and the numerous efforts involved in its production are forgotten. The Zagreb Arena is an enterprise of major dimensions and on a grand scale, a public building the like of which has not been built in Zagreb or Croatia for decades. The formative period, which is still going on while these pages are being written, is to an extent unfolding before the eyes of the public and the media, but few, except the immediate participants involved in the construction, have a clear and complete insight into the excitement, the complexity, gravity and drama of its shaping and materialisation, just as too little is known of the enthusiasm and dedication of those who pay heed to its future before it is handed over for the use of the citizens of Croatia and Zagreb. A monograph about the Zagreb Arena is a kind of memento, a tale of the life shared by the building coming into being and all those who are to be credited with this act of creation. It is also an attempt to document and to familiarise the public with the work and collaboration of the many trades and disciplines involved in the building process, through first person singular speech, the testimony of the actual protagonists, from the architectural practices, the building site, the workshops; people, that is, whose faces and names are not usually in the public eye. In some way, this monograph is not just a tale about the Zagreb Arena, but also about building as such, about architecture and its kindred disciplines, told from the inner perspective. The Zagreb Arena and the creative team behind it deserve this kind of memento for many reasons. It is hardly necessary to insist on the importance of such a building for the city of Zagreb, for Croatia, and the region in general, considering its capacity, the many uses it can be put to and the excellence of its technical equipment. Many of the events that have to date passed Zagreb by, like concerts by top musicians or great sporting events have at last obtained a suitable venue. Of particular importance for its origin is the concept of the public-private partnership, a model that in the world at large is one of the main generators of city development and the performance of capital projects but that in Croatia is a novelty only just bearing fruit. Certainly, the collaboration between the Republic of Croatia, the City of Zagreb and Ingra on the Zagreb Arena project has shown that the public- -private partnership can be a very successful model for the funding of key urban interventions. The architectural approach of the Zagreb Arena is a unique Croatian product, the result of the knowledge and creativity of the place, the operational capacity and professionalism of the civil engineering industry. The synergetic relationship of all the participants in devising and building the Arena has enabled the extremely rapid design and construction of a building aimed at achieving maximum results from existing resources and, with a canny permutation of the existing building resources and approaches, pulling off the practically impossible. In this sense, the Zagreb Arena is a product that in terms of a successful and realistic combination of creativity and operational capacity is exemplary at the general level of Croatian society and can be a conceptual model for other areas of industry and other activities. It is certainly difficult in a book to give a veracious account of the complexity and scope of the project, the on-site dynamism and all the events that have marked the origin of this structure. What is missing is a sense of the fascination with the scale of the operations at the very site, it is not possible to reproduce the vibrations and the deafening noise of the machinery, the bustle of hundreds of workers, to convey the vertigo induced by the height at which some of the works are performed. But it is possible to mediate this experience in book form with a heedful approach to the topic: taking photographs from the same angles for months, holding conversations with numerous interesting dialogue partners of different trades and professions, creating a dramaturgy within the book medium and putting together a mosaic to attempt to describe what it has meant to design and build. Thanks to this kind of mosaic, the formative periods of the life of the Zagreb Arena will be permanently recorded and described, and the leading figures behind its creation talk of their own experiences and perceptions within the perspective of the ultimate objective, dispatching the Zagreb Arena to a mature and independent life. Like the building itself, this monograph is also a team effort because it came into being as a result of the contacts between the people who directly participated in the preparation of the book and the builders themselves. In this sense, the authorship of the book is collective, and the photographic motifs and texts that are displayed are just the tip of the iceberg that is the complete documentary material. It is the wish of all who took part in this project that the Zagreb Arena develops into one of the city s key public projects, and we hope that this book succeeds at least to a degree in recording the numerous efforts which were made to bring that wish about. menski kontinuiran tijek, ali su također i međusobno jasno odijeljena i imaju sasvim različite karaktere. Prvi životni ciklus građevine odnosi cija javno -privatnog partnerstva, modela koji je u svijetu jedan od se na inicijativu njenog zasnivanja. On se u potpunosti odvija u sferi glavnih pokretača razvoja gradova i izvedbe kapitalnih projekta, no ideje i apstrakcije, u razmišljanjima kreatora projekta: investitora i u Hrvatskoj je novina koja tek daje prve rezultate. Svakako, suradnja projektanata. Jednom, kada je projekt u cijelosti završen, predaje se u Republike Hrvatske, Grada Zagreba i Ingre na projektu Arene Zagreb ruke graditelja čime započinje njezin drugi životni ciklus u kojem kon- pokazala je da je javno-privatno partner stvo naročito uspješan model cept poprima fizički oblik, a ideja se transformira u gradbeno tijelo. financiranja ključnih urbanih intervencija. Nadalje, graditeljsko rješe- I u ciklusu projektiranja i u ciklusu gradnje počinje se od tabule nje Arene Zagreb je jedinstveni hrvatski proizvod, rezultat ovdašnjeg rase praznoga bijelog papira i tla parcele na kojoj zgrada treba znanja i kreativnosti te operativnosti i profesionalnosti građevinske niknuti. I investitori, i projektanti i izvođači dobro poznaju taj osjećaj uzbuđenja jer se u svakom projektu upuštaju u nepoznato, ma koliko im postupci i procesi nastanka zgrade bili već od ranije poznati. Tako je svaki projekt priča za sebe jer svaka građevina ima svoj vlastiti, jedinstveni život, svoju posebnost i naposljetku identitet. Jednom kada je zgrada završena, ona ulazi u svoj treći životni ciklus u kojem dobiva svoj puni smisao. Time završavaju dva formativna perioda zgrade i započinje dugotrajni period zrelosti, sudjelovanja u životu grada i društvene zajednice. No, njena pred-povijest često ostaje skrivena, a njena egzistencija samorazumljiva, kao da je postojanje neke zgrade činjenica dana sama po sebi. Ponekad ostaje zapamćeno ime arhitekta, ponekad naručitelja, no za korisnike proces njenog nastanka uglavnom ima malo ili nikakvo značenje, a brojni napori uključeni u njenu izvedbu ostaju zaboravljeni. Arena Zagreb poduhvat je velikih razmjera i velikog mjerila, javna građevina kakva u Zagrebu i Hrvatskoj nije sagrađena desetljećima. Njen formativni period, koji još traje dok se pišu ovi redci, u određenoj se mjeri odvija pred očima javnosti i medija, no malo tko, osim neposrednih sudionika uključenih u njenu gradnju, ima jasan i cjelovit uvid u uzbudljivost, složenost, ozbiljnost i dramatičnost njenog uobličavanja i materijalizacije, kao što se premalo zna o entuzijazmu i posvećenosti zadatku svih onih koji skrbe za njenu budućnost prije nego što se preda na korištenje građanima Zagreba i Hrvatske. Monografija o Areni Zagreb jest svojevrsni memento, pripovijest o suživotu zgrade u nastanku i svih onih koji su za taj nastanak zaslužni. Ona je također i pokušaj da se dokumentira i javnosti približi rad i suradnja mnogih struka uključenih u proces građenja, i to putem govora u prvom licu jednine te svjedočanstva samih protagonista iz projektnih ureda, s gradilišta i iz radionica, dakle ljudi čija lica i imena inače uglavnom nisu eksponirana. Na neki način, ova monografija nije samo priča o Areni Zagreb, nego i o građenju, arhitekturi i srodnim disciplinama općenito, ispričana iz unutarnje perspektive. Arena Zagreb i njeni stvaratelji zaslužuju takav memento iz mnogih razloga. Gotovo da i nije potrebno isticati važnost takve građevine za grad Zagreb, Hrvatsku, pa i regiju s obzirom na njen veliki kapacitet, višenamjensku funkciju i tehničku opremljenost. Mnoga događanja koja su do sada zaobilazila Zagreb, poput koncerata vrhunskih industrije. Također, sinergijski odnos svih sudionika u osmišljavanju i gradnji Arene omogućio je da se u izuzetno kratkom roku osmisli i izvede građevina na temelju dostizanja maksimalnog rezultata iz postojećih resursa, da se kombinatoričkim razmišljanjem o dostupnim graditeljskim sredstvima i rješenjima postigne gotovo nemoguće. U tom smislu, Arena Zagreb je proizvod koji je po uspješnom i realis tičnom povezivanju kreativnosti i operative uzoran na općem planu hrvatskog društva te može biti konceptualan model i za druga područja industrije i drugih djelatnosti. Svakako, u knjizi je teško sasvim vjerodostojno predočiti kompleksnost i opseg projekta, dinamičnost gradilišta i sva zbivanja koja obilježavaju nastanak ove građevine. Izostaje osjećaj fascinacije mjerilom zahvata na samom gradilištu, nije moguće reproducirati vibracije i zaglušujuću buku strojeva, vrevu stotina radnika, prenijeti vrtoglavicu koju izaziva visina na kojoj se odvijaju pojedini radovi. No, moguće je ta iskustva posredovati u knjišku formu brižljivim pristupom temi: mjesecima snimati tisuće fotografija, voditi razgovore s brojnim zanim ljivim sugovornicima različitih struka, stvoriti dramaturgiju unutar samog medija knjige i sklopiti mozaik kojim se nastoji opisati što to znači projektirati i graditi. Zahvaljujući takvom mozaiku, formativni period života Arene Zagreb ostaje trajno zabilježen i opisan, a protagonisti njenog nastanka govore o vlastitim iskustvima i doživljajima iz perspektive konačnog cilja prepuštanja Arene Zagreb njenom zrelom, samostalnom životu. Kao i sama građevina, i ova monografija je zajednički rad jer je nastala u kontaktu ljudi koji su neposredno sudjelovali u izradi knjige i samih graditelja. U tom smislu, autorstvo knjige je kolektivno, a prikazani fotografski motivi i tekstovi tek su vrh ledenog brijega cjelokupnoga dokumentiranog materijala. Želja je svih koji su sudjelovali u ovom projektu da Arena Zagreb zaživi kao jedan od ključnih javnih gradskih projekta, a nadamo se da je knjiga barem donekle uspjela zabilježiti brojne napore koji su poduzeti da se ta želja i ostvari. 4 5

4 Stvaranje novih vrijednosti Constructing New Values Osvrt predsjednika Vlade Republike A Remark from the Prime Minister of the Republic of Croatia Od dubrovačkih zidina do osječke Tvrđe, od šibenske katedrale do znamenitog krova crkve svetoga Marka, arhitektura je uvijek svjedočila o vremenu, prostoru i narodu koji je na tom prostoru stvarao svoju povijest. Tako i u suvremenoj i suverenoj Hrvatskoj, nova zagrebačka Arena svjedoči o hrvatskoj zbilji u XXI. stoljeću. Gledajući prema Zapadu, Arena je ujedno i simbol otvorenosti naše zemlje prema cijelom svijetu. I doista će oči cijeloga svijeta biti uperene u nju, u Zagreb i Hrvatsku, kada se na njezinim tribinama, tijekom Svjetskog rukometnog prvenstva, susretnu navijači sa svih kontinenata. Neka te tribine ostanu zauvijek mjesto susreta i prijateljstva, te snažnog i zdravog bodrenja. Neka Arena Zagreb bude trajni simbol takvog uspjeha! Arena Zagreb već sad nas na to upućuje. Pogled na Arenu sa zagrebačkog Jaruna, koji je postao novi vizualni znak sportskog života našega glavnog grada, kao da nas podsjeća na postignuća iz prošlosti, iz koje izvire snaga i motivacija za buduće uspjehe. O tom uspjehu svjedoči zagrebačka Arena, i to ne samo o onom sportskom. Arena svjedoči o znanju i poduzetnosti naših ljudi. Svjedoči o naprednoj zemlji s modernom infrastrukturom. S obzirom na to da je izgrađena u isto vrijeme kad i dvorane u Splitu, Osijeku, Zadru, Varaždinu i Poreču, ona također svjedoči o ravnomjernom razvoju svih hrvatskih krajeva. Arena svjedoči i o našoj sposobnosti za stvaranje novih vrijednosti. Svojom arhitektonskom ljepotom Arena je promijenila izgled jednom od glavnih ulaza u grad i time pokazala put razvoja kroz inovaciju i izvrsnost. Na tim je pretpostavkama Vlada Republike Hrvatske podržala izgradnju Arene Zagreb i ostalih suvremenih sportskih dvorana diljem zemlje, s ciljem daljnjeg razvoja ne samo hrvatskog sporta, nego i gospodarstva i cjelokupnog društva. Na tim pretpostavkama Vlada će i dalje pridonositi stvaranju potrebnih uvjeta za razvoj svih potencijala Hrvatske i njenih građana. From the city walls of Dubrovnik to the fortress in Osijek, from the cathedral in Šibenik to the famous tiled roof of St Mark s, architecture has always been a witness to the time, space and the people who created their history in the area. Similarly, the new Zagreb Arena is a witness to Croatian reality in the 21st century, in contemporary and sovereign Croatia. Facing the West, the Arena is also a symbol of our country s openness to the whole world. And indeed, the eyes of the whole world will be directed to it, to Zagreb and Croatia, when its stands become a meeting point for supporters from all continents during the World Handball Championship. Let these stands forever remain a place for meetings and friendships, and vigorous and healthy support. Let the Zagreb Arena be a lasting symbol of such success! The Zagreb Arena is already telling us this. A gaze upon the Arena from Zagreb s Jarun lake, which became a new visual symbol of the sports lifestyle of our capital, seems to remind us of our past achievements, from which strength and motivation for future successes stem. The Zagreb Arena is a witness to such successes, and this not merely regarding sporting successes. The Arena is also a witness to the knowledge and entrepreneurship of our people. It is a witness to an advanced country with modern infrastructure. Since it was constructed at the same time as sports halls in Split, Osijek, Zadar, Varaždin and Poreč, it is a witness to the even development of all Croatian regions as well. The Arena is also a witness to our capability of constructing new values. With its architectural beauty, the Arena has managed to change the appearance of one of the principal entrances to the city, thereby showing the path for development through innovation and excellence. Based on these assumptions, the Government of the Republic of Croatia gave support to the construction of the Zagreb Arena and other modern sports halls throughout the country, with the aim of further developing not only Croatian sport, but also the economy and society generally. The Government will continue to contribute, on this basis, to the creation of the necessary conditions for developing the whole potential of Croatia and its citizens. Dr. Ivo Sanader, predsjednik Vlade Republike Hrvatske Dr Ivo Sanader, Prime Minister of the Republic of Croatia 7

5 Iza Ingre stoji više od pola stoljeća uspješnog poslovanja u preko trideset zemalja svijeta. Mnogi od osam stotina dosad izvedenih projekata bili su veći i složeniji od Arene Zagreb, no niti jedan nije bio toliko ograničen rokovima. Hidrocentrale, bolnice, industrijski pogoni i slični objekti traže veći angažman u smislu stručnih znanja, primjene tehnologija ili samog načina građenja, ali imaju i duži vremenski rok za realizaciju. Naš cilj nije bio u 503 dana sagraditi običnu sportsku dvoranu s kapacitetom od mjesta. Željeli smo u Zagrebu sagraditi jedinstvenu multifunkcionalnu građevinu koja će s jedne strane doprinijeti kvaliteti života građana kulturnim, sportskim i raznim drugim događajima, a s druge strane postati jedan od prepoznatljivih gradskih simbola svojom jedinstvenom arhitekturom i dizajnom. Ingra has successfully conducted business for more than half a century in over thirty countries throughout the world. Many of the projects executed so far were larger and more complex than the Zagreb Arena, but none was as limited by deadlines. Hydro power plants, hospitals, industrial plants and similar facilities require more engagement in terms of knowledge, application of technology or construction itself, but also entail longer deadlines for realisation. Our goal was not to construct just a sports hall that seats 15,000 in 503 days. We wanted to make a unique multi-functional building in Zagreb that would, on the one hand, contribute to citizens quality of life through cultural, sporting and other events, and, on the other, become one of the city s recognisable symbols with its unique architecture and design. IGOR OPPENHEIM, predsjednik Uprave / Chairman of the Board; INGRA D.D., glavni izvođač / principal contractor

6 Iluzija je da razvoj Zagreba može biti financiran iz proračuna. Zadaća je Grada da proračunom gradi javnu gradsku infrastrukturu i brojne građevine javne namjene, ali i da financira i pomaže kulturnu i svaku drugu izvrsnost. Grad u konačnici brine za svakodnevno funkcioniranje grada. Privatni kapital u Zagrebu uživa dobrodošlicu, uz uvjet da poštuje zakone i gradske odluke, povijesne prostore i naše kriterije izvrsnosti. Posredstvom Arene, Zagreb izlazi na svjetsku scenu konkurencije za velika svjetska sportska, kulturna, zabavna i gospodarska događanja, za organizaciju kongresa, priredbi, ukratko događaja koji daju novi identitet našemu gradu. It s an illusion that the development of Zagreb can be funded from the city budget. It s the task of the city authorities to use the budget to build up the city s public infrastructure and the many public-use buildings, as well as to fund and assist cultural and all other kinds of excellence. Ultimately the authorities have to take care of the everyday functioning of the city. Private capital is very welcome in Zagreb, on condition that it respects the law and the city s decisions, the historical areas, and our criteria of excellence. Because of the Arena, Zagreb is entering the world scene of competition for great sporting, cultural, entertainment and business events, for the organisation of conferences and functions, in short for happenings that will give our city a new identity. MILAN BANDIĆ, gradonačelnik Grada Zagreba / Mayor of Zagreb

7 Vanjski je izgled u svakom slučaju specifičan. Iznad ulaznog platoa dominiraju prednapregnuti armirano-betonski nosači, kolokvijalno nazvani lamele, i svjetleća fasada koja se može regulirati odabiranjem određenoga kompjutorskog programa. U dvorani se može smjestiti više od posjetilaca; od toga oko na pomične teleskopske tribine, a preostali broj na fiksne tribine. Predviđen je prostor za invalidne osobe kao i VIP lože. Za posjetioce je uređen restoran s kuhinjom i niz ugostiteljskih sadržaja. U sklopu građevine nalazi se dvorana za zagrijavanje i trening sa svojim sanitarnim prostorima i garderobama. Ispod cijele zgrade nalazi se podzemna garaža s otprilike 900 mjesta, u koju se ulazi kroz dvije ulazno-izlazne rampe, a s južne strane smješteno je parkiralište za autobuse i reportažna kola. The outer appearance is certainly specific. Reinforced concrete supports, colloquially termed ribs, as well as the lighted facade which can be regulated by selecting certain computer programs dominate above the entrance concourse. The hall can seat more than 15,000 spectators, of which 4,500 in moveable telescopic stands, while the remaining number is seated in permanent stands. Space for the disabled has been provided, as have VIP boxes. Visitors have a restaurant with a kitchen and a whole range of catering facilities at their disposal. Within the building, there is a hall for warming up and training, equipped with its own toilet facilities and lockers. Below the entire construction is an underground garage with approximately 900 spaces, with two entrance/exit ramps, while the southern section contains a parking lot for buses and TV crews. DARKO IVANDA, direktor projekta / project director; INGRA D.D.

8 Jasno je da građevine velikih raspona automatski uključuju konstrukciju kao važan element koncipiranja projekta. Doslovno, riječ je o opni s jasnom formom koja se ne temelji u simbolici, nego slijedi konstruktivnu logiku. Konstrukcija se zatvara prema unutra u obliku školjke, čime se smanjuje raspon i djelomično natkriva prostor. Htjeli smo postići snažan, čist element u prostoru. Naturally buildings with great spans automatically include the construction as a vital element in the conception of the design. Literally, here we have an envelope with a clear form that is not founded in any symbolism, but rather follows structural logic. The structure is closed inwards, in the form of a shell, which reduces the span and to a degree covers the area. We wanted to create a strong and clear element in space. BERISLAV MEDIĆ ALAN LEO PLEŠTINA, NENAD BORGUDAN, TAMARA STANTIĆ BRČIĆ, BERISLAV MEDIĆ, UPI 2M D.O.O., arhitektonski projekt i projekt konstrukcije / architectural project and project of construction

9 SANDRA KRIŽIĆ ROBAN Arena Zagreb novo gradsko obilježje Slika koja se pruža kad Zagrebu pristupamo s juga jedinstvena je; izvedene na Dinamovu stadionu (Turina, Neidhardt, Erlich, i o predviđanju težine opreme koju svaki bolji rock&roll sastav sadržajima još nisu postale dio kolektivnoga urbanog identi- to je vizura u kojoj su očuvani stoljetni tragovi urbaniteta, od prvih ). Logičnost toga konstruktorskog zadatka omogu- mora moći objesiti iznad pozornice, tek su dio zadanih parametara teta, nego su najčešće tek ideje na papiru, odnosno u računalu. definiranih izgradnji na obroncima Sljemena, preko crkvenog i svje- ćila je prožimanje okoline i stadiona na jedinstven način, čime su koji uvjetuju interijer Arene. Fleksibilnost gledališta, osim vrstom Sportsko-poslovni kompleks Cibona (Hržić, Piteša, Šerbetić, tovnog brežuljka Gradeca i Kaptola, sve do podgrađa i njegove javni prostor i ljepota Maksimira postali dijelom sportskoga kom- sporta, uvjetovana je i činjenicom da će Arena tek 30 posto svoga 1986.) izgrađen je na mjestu gdje je bilo moguće ostvariti idealnu uređene blokovske izgradnje čiji umirujući, pravilan ritam skladno pleksa. Širi urbani kontekst maksimirskog primjera te Arene i vremena služiti sportskim događanjima. gradotvornu arhitekturu, no unatoč tom pozitivnom iskustvu zaokružuje povijesni gradski okvir. Premošćivanjem Save započelo Laništa nezahvalno je uspoređivati, no spomenimo kako obližnji Autori arhitektonskoga projekta Berislav Medić, Alan Leo mnoge nove gradske četvrti zapravo potvrđuju davno iznesenu je širenje grada, koji posljednjih godina doživljava nevjerojatnu Jarun pripada među najbolja hortikulturna rješenja usklađena sa Pleština, Nenad Borgudan i Tamara Stantić-Brčić iz UPI 2M prven- tezu Milana Preloga o rastu grada na principu gomilanja zona u ekspanziju, pa gotovo svakodnevno svjedočimo rezultatima nove sportskim sadržajima koji se odvijaju na jezeru; povezanost dvaju stveno su morali zadovoljiti brojne uvjete koji pretpostavljaju funk- kojima se samo stanuje ili samo radi. Povijesno zagrebačko sredi- urbane strategije Zagreba, od kojih poneki zavrjeđuju pozornost. lokaliteta spletom pješačkih staza pridonijet će istraživanju i kori- cionalno i rentabilno korištenje Arene, a vanjsko oblikovanje je šte odavno nije u stanju zadovoljiti promijenjene interese i navike Vremenom smo se osvjedočili kako je kulturalno-urbani model štenju grada iz drukčije, aktivnije perspektive. ono u čemu su mogli pokazati svoje umijeće. Pročelje su kontinui- građana, koji unatoč nedostatcima urbaniziranih područja traže zasnovan u poslijeratnu razdoblju, unatoč tadašnjim političkim rano obuhvatili prednapregnutim betonskim rebrima, središnji dio nove mogućnosti osjećanja zajedništva u prostoru i vremenu. i ekonomskim ograničenjima pokazao svoju funkcionalnost i Ikoničnost i konstruktivnost. Arena se isprva činila poput skulp- kojih povezuju mliječnobijeli paneli, osvijetljeni sa stražnje strane. Situacija na Laništu mogla bi postati primjerom mjesta osmišlje- uspješnost. Urbana morfologija koju baštinimo iz toga doba počiva ture na livadi, u urbanistički još uvijek neartikuliranom okruženju Na taj način složen i primarno funkcionalan unutrašnji organizam nog za spontane društvenosti, druženja na otvorenom prostoru, na omjeru stanogradnje i nužnih sadržaja potrebnih da bi naselja zapadnog pristupa gradu koji će, sudeći prema master-planovima, odterećen je konstrukcijom koja djeluje lagano i prozračno. Rebra na sjecištu raznovrsnih interesa. mogla funkcionirati (dječji vrtići, škole, uslužni centri). Za razliku biti zaključen s nekoliko visokogradnji te nizom stambenih objekata se u gornjoj zoni pretvaraju u slobodne volumene, koji su na užim Iskoristivost Arene za sportska, kulturna, koncertna, konferen- od toga, današnje tranzicijsko razdoblje postavilo je nove kriterije; uza savsku obalu. Zahvaljujući ritmu izgradnje, ubrzo smo bili u stranama zgrade niži i pridržavaju krovnu konstrukciju tvoreći cijska i sajamska događanja, kao i činjenica da će svako od tih trajna privremenost sintagma je koja ilustrira prevladavajuće prilici uvjeriti se kako je riječ o osobitu spoju građevinskih strate- osobitu, napetu petu fasadu čija čelična užad ispisuje projekti- događanja zgradu učiniti živim, osvijetljenim organizmom, govori standarde koje još uvijek nije moguće klasificirati, a demokratizacija gija i oblikovanja, primjeru konstrukcijsko-inženjerske arhitekture ranu, gledateljima doduše nevidljivu, geometriju odnosa koji o artikulaciji jednoga dijela grada koji će zasigurno postaviti nove i liberalizacija uvjeta izgradnje ne vode nužno prema arhitekton- gdje se forma izravno veže uza strukturu. Gledana kao znak, Arena vladaju u unutrašnjosti. kriterije vrednovanja. Tri pješačka mosta koja građevinu povezuju skoj kulturi kakvu smo iščekivali. je lišena simbolike i asocijacija koje bismo možda mogli očekivati. Dok unutrašnjost Arene primarno mora zadovoljiti specifične s trgovačkim centrom prekoračujući novu prometnicu unutar Zakrivljena rebra zadržavaju prizmatičan volumen unutar cjeline, zahtjeve fleksibilnosti borilišta smještaj izvlačnih tribina prilago- Laništa, postaju prostran javni prostor, zona kontakta gdje će ritam Odabrani detalji povijesti izgradnje sportskih objekata. a zahvaljujući rastvorenosti ulazne zone i osvijetljenosti središnjeg đenih trenutačnom sportskom/koncertnom događaju, pozicionira- druženja i korištenja pulsirati u skladu s Arenom. Posljednjih mje- Izgradnja sportskih objekata u Zagrebu od druge polovice 19. sto- dijela omogućena je komunikacija zgrade s okolinom. 86 nosača nje i opremanje komentatorskih i VIP-loža na određenim mjestima, seci autori arhitektonskoga projekta iz UPI 2M često su isticali ljeća pa sve do danas pokazuje određene sličnosti. Prva građe vina raznih visina (od 28 do 37 m) tvore dinamično ritmiziranu ovojnicu korištenje krajnje jednostavne i svima razumljive signalizacije te mogućnosti arhitekture koja izvire iz konstruktivne koncepcije, a namijenjena sportu u Zagrebu streljana na Tuškancu dovodila čija se organičnost na koncepcijskoj razini može dovesti u vezu oblaganje površina materijalima zadovoljavajućih akustičnih svoj- ljepota stvorenoga nesvakidašnjeg oblika, koji je već proglašen se u vezu s kulturnim, prosvjetnim i sličnim sadržajima, kakvima je sa sportskim događanjima, no koja istodobno ovisi o načelno jed- stava, što su sve uvjeti unutar kojih je kreativno umijeće artikula- novim zagrebačkim gradskim obilježjem, daje nam za pravo naslu- djelomično namijenjena i novosagrađena zgrada Arene. Osnutak nostavnim fizikalnim zakonima. Lijevani tik uz mjesto izgradnje, cije prostora svedeno na minimum vanjština se doživljava poput titi kako će ovaj sportski objekt postati jedan od važnih nositelja organiziranih sportskih društava nije bio praćen adekvatnom nosači su element u kojem se sjedinjuju ekspresivnost oblika i svojevrsna ekscesa kojim projektanti pokazuju svoju vještinu i identiteta grada. izgradnjom, a rubni smještaj tih sadržaja onda kao i danas funkcionalnost konstrukcije. slobodu stvaranja nečega što nije tipično. Pritom se već mnogo može se do neke mjere dovesti u vezu s perifernim položajima Zagrebačka Arena građevina je od posebnoga značaja, grad- puta spomenuta konstrukcija pokazala kao dobra strategija, koja zemljišta, ali i općeg stava prema sportu. Tradicionalni nedostatak sko obilježje ikonički oblik koji na zapadnom ulazu u grad najav- konceptualno ističe značaj pojedinog elementa i njegove važnosti sportskih terena anuliran je izgradnjom pojedinih objekata, koji ljuje izvjestan odmak od urbane sheme unutar koje je izgrađen. u funkcioniranju cjeline, što također ima veze sa sadržajima kojima danas uglavnom više ne zadovoljavaju standarde niti su u moguć- Njezina kratkotrajna povijest je burna, definirana uvjetima koji vla- je građevina namijenjena. nosti služiti raznovrsnim sadržajima. daju u današnjem tranzicijskom društvu. Sposobnost prilagodbe, Ako zavirimo u povijest izgradnje kako bismo pronašli primjere brzog rješenja problema, kultiviranja ambijenta namijenjenog Doprinos urbanosti. Stanogradnja je proteklih desetljeća odredila koji humanim principom pripomažu određivanju specifičnosti sportu, zabavi, sajamskim i konferencijskim sadržajima sve to i razvoj i urbanost Zagreba, posebice njegovih novih dijelova, no zagrebačke arhitekture, spomenimo stadion u Maksimiru. Pišući još mnogo toga bilo je potrebno zadovoljiti da bi ta osobita, bijela ni tada ni danas ta grana arhitekture nije rezultirala građevinama o Areni, neizbježno se prisjećamo zapadne tribine betonskog konstrukcija izdržala teret koji joj je namijenjen. A on nije lak. koje bismo mogli prozvati gradskim obilježjima. Građevine od sim- skeleta velikog, moćnog ritma, po čistoći konstrukcije i plastič- Funkcionalna zadatost unutarnjeg prostora, ovisna o odluci boličkog značenja za gradsku strukturu muzeji, kazališta, sport- koj izražajnosti bez presedana u našoj poslijeratnoj arhitekturi o vrstama i broju sportova kojima je borilište namijenjeno, kao ske dvorane, ambasade, zgrade namijenjene političkim i upravnim 16 17

10 SANDRA KRIŽIĆ ROBAN The Zagreb Arena a New City Landmark The image before one when approaching Zagreb from the south is without precedent in our post-war architecture according to its purity The functional limits of the interior depend on decisions on the types and number of sports the pitch serves, as well as on the anticipation of the weight of the equipment each larger rock n roll band must be able to hang above the stage these are but a few of the set parameters conditioning the interior of Arena. The flexibility of the spectator stands, apart from the type of sport, is also conditioned by the fact that Arena will host sporting events only 30 per cent of the time. The authors of the architectural design, Berislav Medić, Alan Leo Pleština, Nenad Borgudan and Tamara Stantić-Brčić, from UPI 2M, primarily had to comply with numerous conditions which presuppose functional and cost-effective use of Arena, while the outer form is where they were able to display their skill. The facade was continuously framed in reinforced concrete ribs, the central parts of which are connected by milky white panels illuminated from behind. The primarily functional inner organism conceived was thus lightened by its construction that appears light and airy. The ribs turn into free volumes in the upper zone, being shorter on the narrower sides of the building, supporting the roof construction by forming a peculiar, tense fifth facade, the steel cables of which delineate the designed geometry of relationships dominating the interior, even though it is invisible to the spectators. While the interior of the Arena must primarily comply with the specific requirements of the sports pitch the location of movable stands adjusted to the current sporting or concert event, the position and equipment of commentator booths and VIP boxes, the use of utterly simple signalization understood by all, and the framing of spaces with materials which have satisfactory acoustic qualities all conditions within which the creative art of articulating the space has been brought down to minimum the exterior is experienced as an excess of a sort, used by the designers to exhibit their skill and the liberty to create something atypical. The already often mentioned construction proved a sound strategy here, which conceptually highlights the significance of individual elements and their importance in the functioning of the whole, connected to the purposes the building is intended for as well. administrative purposes have still not become part of the collective urban identity, but remain paper or computer ideas in most cases. The Cibona sports and business centre (Hržić, Piteša, Šerbetić, ) was constructed in a location where it was easy to realize ideal city building architecture, but despite this positive experience, many new city neighbourhoods actually prove the thesis launched long ago by Milan Prelog, regarding the growth of the city using the principles of piling up zones where one is only to dwell or only to work. The historic Zagreb downtown area has long been unable to meet the changing interests and habits of its citizens, who despite the deficiencies of urban areas seek new possibilities for expressing togetherness in space and time. The situation in Lanište could become an example of a venue conceived for spontaneous socialization, getting together in the open, at the intersection of different interests. The possibilities of utilizing the Arena for sporting, cultural, concert, conference and fair events, just like the fact that each of these events will bring this building to life, will make it a lighted organism, speak of the articulation of one city part which will surely set new criteria for valuation. Three footbridges connecting the building to a mall, by striding over a new street within Lanište, become a spacious public area, a zone for contacts where the rhythm of company and use will pulse in unison with the Arena. The authors of the architectural design from UPI 2M have often emphasized in recent months the possibilities of architecture which stems from constructive concepts, while the beauty of created unusual form, already proclaimed a new Zagreb landmark, gives us the right to guess this sports facility will become one of the pivotal points of the city s identity. unique; it is a vista in which traces of urbanism hundreds of years old of construc tion and plastic expression which was executed at have been preserved, starting from the initial defined construction on Dinamo s stadium (Turina, Neidhardt, Erlich, ). The logic of this the slopes of Sljeme, through the ecclesiastical and secular hilltops construction task enabled the environment and the stadium to interact Kaptol and Gradec all the way to the suburbs and their planned block in a unique manner, whereby the public space and beauty of Maksimir design, the soothing, regular rhythm of which harmoniously encircles became part of the sports complex. The wider urban context of the the historical city core. By bridging the Sava, the city s expansion began, Maksimir example, and that of the Arena and Lanište will not be com- and there has been unbelievable growth in recent years, so that we can pared, but let us add that nearby Jarun is among the best horticultural witness on an almost daily basis the results of Zagreb s new urban solutions adjusted to the sports taking place at this lake; the connec- strategy, some of which deserve attention. tion between these two locations, via a network of walkways, will contribute to the exploration and utilization of the city from a different, more active perspective. Over time we have seen how the cultural and urban mode engendered in the post-war years displayed its functionality and success, despite the then political and economic obstacles. The urban morphology we inherited from that era relies on the ratio between housing construction and the necessary contents required for neighbourhoods to function (kindergartens, schools, service centres). In contrast, the transitional period of today established new criteria; permanent transience is a syntagm which illustrates dominant standards still defying classification, while the democratization and liberalization of conditions for construction still do not necessarily lead to the architectural culture we yearned for. Icon Qualities and Constructivity. The Arena first seemed like a sculpture on a meadow, within an environment still not articulated in urban terms, situated in the western city limits that will, if we are to judge by the master plans, be completed by several high rises and a line of housing blocks by the banks of the Sava. Thanks to the rhythm of construction, we were soon able to convince ourselves that this is a peculiar amalgam of construction strategies and form, an example of construction-engineering architecture where form is directly connected to structure. Viewed as a symbol, the Arena is stripped of the symbolism and associations we might possibly expect. The curved ribs contain a prism-like volume within the whole, and thanks to the openness of the access zone and the light in the central part, the building communicates with the environment. Eighty-six supports of different heights (28 to 37 m) form a shell with a dynamic rhythm, the organic qualities of which can be linked with sports events on the conceptual plane, but simultaneously depend on simple laws of physics in principle. Cast just by the construction site, the supports are elements unifying the expression of forms and the functionality of construction. The Zagreb Arena is a building of special importance, a landmark an iconic form which announces a certain deviation from the urban scheme within which it was constructed, at the western entrance to the city. Its short history has been volatile, defined by the conditions ruling the transitional society of today. The ability to adapt, fast solutions to problems, the cultivation of an environment dedicated to sport, entertainment, fair and conference facilities all this and plenty of other criteria had to be met in order for this peculiar, white construction to withstand the weight intended. Which was not light. Selected Details of the History of Sports Facilities Construction. The construction of sports facilities in Zagreb has exhibited certain similarities from the latter half of the 19th century until today. The first construction in Zagreb dedicated to sport the marksmanship ranges at Tuškanac was linked to cultural, educational and similar facilities, which the newly built Arena is partly intended for as well. The establishment of organized sports associations was not supported by adequate construction, while the peripheral placement of these objects both then and now can be explained by the peripheral positions of land plots, but also the general attitude to sports. The traditional lack of sports fields has been improved by the construction of individual objects, which today mostly fail to comply with standards, nor are they able to serve different purposes. A Contribution to Urban Planning. Housing has set the pace for the development and urban planning of Zagreb in recent decades, especially of its new parts, but this branch of architecture has not, neither back then nor today, resulted in buildings we could dub landmarks. Objects of symbolic significance for the city structure museums, theatres, sports halls, embassies, buildings dedicated to political and If we peek into the history of construction in order to find examples that help us in determining peculiarities of Zagreb architecture through a humane principle of a sort, let us here mention the football stadium in Maksimir. Writing on the Arena, we cannot but remember the West Stand a concrete skeleton of large, powerful rhythm, 18 19

11 503 TRAJANJE IZGRADNJE ARENE ZAGREB U DANIMA DURATION OF THE CONSTRUCTION OF THE ZAGREB ARENA IN DAYS

12 VOLUMEN ŠIROKOG ISKOPA U KUBIČNIM METRIMA VOLUME OF EARTHWORK IN CUBIC METRES

13 9.500 KOLIČINA ARMATURE U TONAMA QUANTITY OF REINFORCEMENT IN TONS

14 Moj svakodnevni posao jest koordinacija svih izvođača koji rade na objektu, nadzor obavljanja radova i njegove dinamike, nadzor broja ljudi, kvalitete radova i planiranje. U planiranju građenja uvijek je važno vrijeme i rok, od toga se kreće. Druga premisa na kojoj se sve temelji jest da se više tehnoloških procesa može odvijati istovremeno, a da jedan drugome ne smetaju. Tehnološki se slijed mora poštivati i on diktira tempo i pojedine radnje. Jasno je da je ovdje sam opseg puno veći, pa onda može raditi puno više ljudi, potrebno je puno više strojeva i kranova. To je nešto teže iskoordinirati jer treba puno više pratiti zbivanja na gradilištu kako netko ne bi narušio taj sklad. My everyday job consists of the coordination of all the contractors working on the structure, supervision of the performance of the work, the dynamics, as well as control of the number of people, quality of the work, and planning. Time and deadlines are always important in the planning of construction, and that s the starting point. The second premise on which it is all based is that several technological processes can go on at the same time without getting in each other s way. The technological sequence has to be respected, and it dictates the tempo and the individual actions. Clearly the range and scope here are much greater, and then a lot more people can work simultaneously, many more machines and cranes are required. That s a bit more difficult to coordinate, because one has to keep up with events on site so that no one disturbs the harmony. DARKO KORETIĆ, glavni inženjer gradilišta / chief site engineer; INGRA D.D.

15 POVRŠINA PODOVA U KVADRATNIM METRIMA FLOOR SURFACE IN SQUARE METRES

16 MASA FASADNIH LAMELA U TONAMA WEIGHT OF FACADE RIBS IN TONS

17 Razmatrajući koncepciju lamela, u razgovorima s ostalim partnerima u procesu gradnje, naročito s kolegama iz tvrtke Tome Lučić, došli smo do ideje da lamelu prefabriciramo u jednom komadu. Odlučili smo proizvoditi lamele u pogonu na gradilištu i zatim ih dizati i postavljati na mjesto dizalicom. To je bilo podudarno s projektantovom idejom jer je njemu zbog što brže izvedbe trebala učinkovita prefabrikacija lamela. Thinking over the conception of the concrete ribs, in talks with the other partners in the construction process, particularly with colleagues from Tome Lučić, we came upon the idea to prefabricate the ribs in a single piece. We decided to produce the ribs in an on-site plant and then raise them and put them into place with a crane. This coincided with the architect s idea, because for the sake of rapidity of production he needed effective rib prefabrication. ANTONIO TOMIĆ, DINARIK D.O.O., tehnologija proizvodnje i montaže fasadnih lamela / technology of the production and assembly of the facade ribs Samo se timski i sinergijom znanja i iskustva mogao izvesti jedan tako zahtjevan projekt kao što je izvedba lamela koje su teške i do 220 tona. Tijekom izvedbe bilo je određenih promjena i projekta i izvedbe. Primjerice, u malim lamelama imate 4, a u velikim 12 kablova za prednaprezanje. To je velika razlika i svaka lamela je zahtijevala zaseban pristup. Rok je bio taj koji je određivao ritam i morali smo vrlo brzo reagirati na svaku novu situaciju. Only by teamwork and the synergy of knowledge and experience was it possible to pull off as a demanding project as the making of concrete ribs that were up to 220 tons in weight. During the work there were certain changes in both the project and the execution. For example, in the small concrete ribs you have 4, and in the large ones 12, cables to be prestressed. This is a big difference, and each concrete rib needed a separate approach. The deadline was what determined the rhythm and we had to react very fast to each new situation. HRVOJE RAGUŽ-VODENAC, PALMIR D.O.O., prefabrikacija fasadnih lamela / the facade rib prefabrication

18 U pogonu je bilo postavljeno 8 oplata. Tjedno smo proizvodili 4 do 6 lamela. Koristili smo samo jedan tip oplate, koja je samo po potrebi visinski mijenjala svoj oblik. Lamela u sebi ima izuzetno mnogo armature, kablova i ostalih insertacija, tako da je zbog raznih spojeva bilo problem izvibrirati beton. Kolege iz Cemexa potrudile su se napraviti prikladnu recepturu betona, a onda smo ga vibrirali oplatnim vibratorima. Eight formworks were installed in the plant. We produced 4 to 6 elements a week. We used just one type of formwork, which changed its shape in height only when needed. Each concrete rib has a great deal of cables and reinforcing and other insertions inside it, so because of the various connections it was a problem to vibrate the concrete. Our colleagues from Cemex did their best to make a suitable composition for the cement, and then we vibrated it with formwork vibrators. ANTONIO TOMIĆ, DINARIK D.O.O.

19 Operaciju prenošenja obavljali smo tako da smo jednom dizalicom dopremali lamelu iz šoške, a drugom je preuzimali, vertikalizirali je i donosili do mjesta montaže. To praktički znači da smo u zraku preuzimali tih 220 tona tešku lamelu. Kada smo vertikalizirali lamele visoke od 27 do 37 metara, morali smo ih dovesti u poziciju s preciznošću od praktički 5 mm. To smo radili uz blisku suradnju s geodetima. We carried out the transport operation by bringing the rib from the formwork base with one crane, then transferring it to the second crane which raised it to the vertical and brought it to the assembly point. This in practice meant that we transferred the 220- ton element in the air. When we had verticalised the elements 27 to 37 metres high, we then had to get them into position with a tolerance of about 5 mm. We did this in close collaboration with the surveyors. TOME LUČIĆ, TL TOME LUČIĆ D.O.O., montaža betonskih elemenata i radovi dizanja / assembly of facade ribs, crane work

20 37 VISINA FASADNE LAMELE U METRIMA HEIGHT OF FACADE RIB IN METRES

21 Izvedba prve lamele bio je svojevrsni test tehnologije. Dok ne provjerite proces, nisu do kraja sigurni svi detalji. Kada se montirala prva lamela, bili smo sigurni da koncept funkcionira i potom smo išli raditi na detaljima brzine, dinamike, kvalitete itd. Producing the first facade rib was in its way a test of the technology. Until you test the process out, you are never going to be sure of every detail. When the first element was assembled, we were sure that the concept worked, and then we went to work on the details of speed, dynamics, quality and the rest. ANTONIO TOMIĆ, DINARIK D.O.O.

22 Dizalica se kreće po gusjenicama. Prilikom prenošenja lamele do pozicije ugradnje dizalica je iza sebe nosila 180 tona utega, a ispred sebe 220 tona tešku lamelu. Dizalica mora imati slobodan put pa dan prije moramo sve osmisliti i koordinirati da ne dođe do neke prepreke. Ne zaboravimo da su se transportirale lamele težine od 170 do 228 tona. Iza dizalice su svaki dan išli valjak i bager, jer put dizalice ne smije imati nagib veći od 1%. Čim je nagib veći, ravnoteža lamele više ne funkcionira. Bilo nam je važno da lamele donosimo na mjesto montaže potpuno horizontalno, kako zbog ravnoteže tako i zbog oslanjanja lamele na ležište s 9 vijaka, što je znatno lakše nego postaviti lamelu koja visi izvan težišta. Njena donja ploča za montažu je uvijek morala stajati ravno. The crane moves on its caterpillar tracks. While the concrete ribs were being moved to their assembly position the crane carried behind it 180 tons of ballast, and in front of it the 220-ton rib. The crane had to have a clear path, and the day before we had to think everything out and coordinate it all so there were no obstacles. Let s not forget that there were elements of 170 to 228 tons being transported. After the crane, every day there was a roller and a bulldozer, because there couldn t be an inclination of more than 1% in the crane s path. It was important for us to get the elements to the assembly place completely horizontally, because of the balance and because of fitting the elements to a bearing with 9 screws, which is a lot easier than putting in place an element that is hanging off the centre of gravity. The rib s lower assembly always had to stand straight. TOME LUČIĆ, TL TOME LUČIĆ D.O.O.

23 Radi preciznosti izvedbe ustrojili smo geodetsku službu koja je pratila izvođenje svih radova. Oni su sve nadzirali, postoje protokoli i zapisi o obavljenim kontrolama i radovima tako da su odstupanja minimalna, unutar tolerancija koje projekt dopušta. Posebno su osjetljivi detalji lamela zbog svoje višestruke funkcije. Tu je preciznost bila posebno zahtjevna. Geodetskih kontrola bilo je na nekoliko razina, od geodetske kontrole samog izvođača, Ingrine geodetske kontrole putem naše geodetske službe i kontrole geodetske službe nadzornih inženjera. To su tri različite geodetske službe i tri različite osobe koje jedna drugu nadziru. For the sake of precision execution we set up a surveying unit that monitored the execution of all the operations. They supervised everything, there are protocols for and minutes of the controls and operations carried out so that there are minimum deviations, well within the tolerances that the plan allows for. The details of the ribs are particularly sensitive, because of their multifunctionality. Here, precision was particularly demanding. Surveying controls took place at several levels, from the control of the contractor itself, Ingra s own surveying control, via our surveying unit and the control of the surveying unit of the supervising engineer. There are three surveying units, and three different persons, all checking on each other. DARKO KORETIĆ, INGRA D.D.

24 1.000 MAKSIMALNI BROJ DJELATNIKA NA GRADILIŠTU U JEDNOM DANU MAXIMUM NUMBER OF WORKERS AT THE CONSTRUCTION SITE IN ONE DAY

25 TLOCRTNA POVRŠINA GRAĐEVINE U KVADRATNIM METRIMA BUILT SURFACE IN SQUARE METRES

26 10 TORANJSKIH DIZALICA TOWER CRANES

27 Izuzetno osjetljivi trenutak bilo je postavljanje lamele na do tada gotov dio betonske konstrukcije. Lamela je duže vrijeme trebala stajati nepridržana, pričvršćena samo u peti. To je zahtijevalo izuzetno preciznu izvedbu pete lamele jer su u njoj bile ostavljene rupe za vijke kojima će biti pričvršćena. Pri dnu se nalaze i bočne rupe koje služe za zatezanje matica na vijcima. Iz predostrožnosti smo lamelu dodatno zategnuli sajlama i ona je tako čekala trenutak kada će se priključiti na monolitnu konstrukciju koja se paralelno izvodila. U trenutku kada se lamela spojila s prstenovima koji idu radijalno oko cijele Arene, ona je preuzela nošenje dijela konstrukcije i tada je sve počelo djelovati kao cjelina. An exceptionally tricky moment was putting the ribs onto the part of the concrete construction finished to that date. The rib had to stand there unsupported for a long time, attached only at its foot. This meant that the foot of the rib had to be made extremely precisely, for there were holes left in it for it to be fastened on. At the bottom there are perforations on the sides for tightening the nuts onto the bolts. As a precautionary measure we additionally tensioned the ribs with cables, and so they waited there until the moment when they would be fixed onto the monolithic construction that was being built in parallel. The moment when the rib was joined with the rings going radially around the whole of the Arena, it took over supporting part of the structure, and then it all started working as an integrated unit. TAMARA STANTIĆ BRČIĆ, UPI 2M D.O.O.

28

29 Lamela u sebi sadržava puno tehnološki suvremenih rješenja. Lamele su prednapete, što je riješilo problem nosivosti, ali i problem brze montaže jer se njom može brže manipulirati. 3 do 4 dana nakon betoniranja mogli smo lamelu dizati iz oplate i proizvoditi sljedeću, a morali smo proizvesti 86 lamela u 80 dana. There are a lot of modern technological approaches in the actual ribs. They are prestressed, solving the problem of load-bearing strength, as well as the problem of rapid assembly, because you can manipulate them faster. Three or four days after pouring we were able to lift a rib out of the formwork and produce the next one, but then, we had to produce 86 ribs in 80 days. BERISLAV MEDIĆ, UPI 2M D.O.O.

30 Lamela je montažni prefabricirani element što nam je omogućilo da gradimo kuću neovisno od lamele. Tek u trenutku kada imamo gotovu lamelu, spajamo je na konstrukciju kuće. Trebalo je naći način da se naprave elementi koji će omogućiti relativno brzo i učinkovito spajanje. U beton i lamele ugrađivani su nastavci putem kojih se formiraju čvorovi armature za spajanje dvaju elemenata. Tako se ostvario kontinuitet u armaturi, a da to nije imalo posljedice na proizvodnju lamela i tribine, jer su se one naknadno sastavljale. The rib is a prefabricated element for assembly, and this enabled us to build the sports hall independently of the ribs. Only when we had a ready-made rib did we then attach it to the construction of the sports hall. So we had to find a way of making elements to facilitate relatively rapid and effective joining. The concrete and the ribs both incorporate reinforcement strands from which the nexuses of the reinforcing for the joining of the two elements are created. So we had a continuity in the reinforcing without this having any effect on the production of the ribs or of the stands, because they were put together subsequently. BERISLAV MEDIĆ, UPI 2M D.O.O.

31 U izvedbu krova uključeno je ukupno šest kooperanata, a po pitanju struka to su dodatni projektantski kadar, ljudi strojarske i građevinske struke, krovopokrivači, ljudi stručni za toplinsku- i hidroizolaciju i pneumatiku. Specifičnost ovog projekta je zahtjevan rad na visini pa je potrebna izrazita preciznost pri izvođenju. Također, rokovi su vrlo kratki. Primjerice, svi smo bili svjesni da treba započeti s nabavom materijala zbog dugih rokova isporuke dok još ugovorne obaveze nisu bile riješene. Na temelju pisma namjere i velikog povjerenja u investitora naručili smo tona sirovog čelika iz inozemstva, sajle su naručene i uplaćene unaprijed Six subcontractors were involved in the making of the roof. In terms of trades and expertises there were additional design staff, people in engineering and building, roofers, people with expertise in thermal and hydro insulation, and pneumatics. A particular feature of this project is demanding work at height and great precision is required in the execution. And then the deadlines were very tight. For example, we were all aware that, because of the long delivery times, we had to start off with the procurement of materials while the contractual obligations had still not been defined. On the basis of a letter of intent and great trust in the client, we ordered 2,000 tons of raw steel from abroad, the cables were ordered and paid for in advance... LUKA ANDRIJANIĆ, ENIKON D.D., izvedba krovne konstrukcije / contractor for the roof structure

32 Elemente krovne konstrukcije Arene radili smo praktički 24 sata u tri smjene sa 130 djelatnika. U ta su dva mjeseca u prosjeku od nas dnevno izlazila po dva šlepera robe. Nakon ulaza materijala u naš pogon slijedi priprema pa rezanje ogromne količine limova raznih dimenzija na automatskoj (CNC) rezačici. Zatim ide obrada profila sa CNC linijom, predmontaža u našem pogonu, slaganje pojedinih elemenata, nakon toga zavarivanje te se izvodi antikorozivna zaštita airless tehnologijom. Materijal se kontinuirano proizvodio i slao na gradilište. Bitno je da se gradilište koordinira s proizvodnjom da bi se točno utvrdilo koji elementi gradilištu trebaju. We worked on the roof structure elements for the Arena practically 24 hours a day in three shifts with 130 workers. In those two months, on average practically two container loads of goods went out from our firm every day. After delivery of the material to our plant came the preparation for cutting that enormous quantity of plating of various dimensions on an automatic cutter (CNC). Then came the working of sections with a CNC line, preassembly in our plant, putting the individual elements together, after that welding, and then airless spraying of anticorrosive protection was done. There was a continuous production of material and sending it to the site. It was essential for the site to be coordinated with production in order to determine which elements were needed there. ANĐELKO FEREK JAMBREK, M PROFIL D.O.O., izrada i predmontaža elemenata krovne konstrukcije / making and preassembly of roof structure elements

33 253 BROJ GLAVNIH ELEMENATA NOSAČA KROVNE KONSTRUKCIJE NUMBER OF MAIN ELEMENTS OF THE ROOF CONSTRUCTION

34

35 103,6 RASPON OVJEŠENE KROVNE KONSTRUKCIJE U METRIMA SPAN OF SUSPENDED ROOF CONSTRUCTION IN METRES

36 Arena Zagreb je kombinacija low i high-tech principa. Sofisticirane lamele monolitizirane su standardnom betonskom konstrukcijom i onda je s njih ovješena high-tech krovna konstrukcija. Krovna konstrukcija Arene Zagreb bliska je konstrukciji visećeg mosta, lančanice što je i u svijetu rijetko rješenje. Nosiva konstrukcija krova visoka je svega 45 cm na rasponu od preko 100 m samo zato što je ovješena izvana, s gornje strane krova, pa se u interijeru ne vidi. Takvo je rješenje omogućila suvremena tehnologija proizvodnje kablova. Fascinantno je da 110-metarski raspon visi na kablovima koji imaju promjer od samo 66 mm i da svaki od tih kablova može nositi 400 tona. Riječ je o golemim silama. Kablovi se na lamele montiraju po principu sličnom vijku i matici. Na kraju kabela nalazi se glava s navojem. Uz pomoć specijalnih hidrauličkih preša preuzima se sila iz kabela i doteže matica. The Zagreb Arena is a combination of low and high tech. The sophisticated ribs are made monolithically in ordinary concrete structure, and then a high-tech roof structure is hung from them. The roof structure of the Zagreb Arena is close to the structure of a suspension bridge, a chain bridge, which is an uncommon approach anywhere in the world. The roof s bearing structure is only 45 cm high, over a span of over 100 m, just because it is suspended from outside, from the upper side of the roof, and it can t be seen from the interior. This kind of solution was made feasible by contemporary cable production technology. It s fascinating that the 110-metre span is suspended on cables that have a diameter of just 66 mm and that each such cable can carry 400 tons. These are vast forces. The cables are assembled onto the ribs according to the nut and bolt system. At the end of each cable is a nut. With the use of a special hydraulic press, the force was taken up from the cable and the nuts were tightened. BERISLAV MEDIĆ, UPI 2M D.O.O.

37 Na gradilištu je 800 ljudi, no njima treba pribrojiti i one koji su u radionicama, dakle one koji pripremaju elemente koji se dopremaju, a potom ih montažeri ugrađuju. Konkretno, riječ je o krovu i krovnoj konstrukciji. Tu su i svi ostali pogoni, primjerice, bravarski i stolarski, gdje se stvari prvo pripreme u radionici, a onda se montiraju. Uvijek je potrebno te dijelove pregledati i u radionici, prije nego dođu na gradilište. Dakle, osim 800 ljudi koji su tu stalno prisutni, sigurno ih je uključeno još toliko izvan gradilišta da bi sve moglo funkcionirati. There are 800 people on-site, but to these you have to add those in the workshops, that is, those who are preparing the elements that are delivered, that the assemblers construct. Specifically, this is about the roof and the roof structure. Then there are all the other departments like, for example, metalworking and carpentry, where things are first prepared in workshops and then assembled. It is always necessary to inspect these parts in the workshop before they arrive on-site. So, apart from the 800 people who are present all the time, there are as many off-site involved for it all to be able to work. DARKO KORETIĆ, INGRA D.D.

38 2.000 MASA ČELIČNE KROVNE KONSTRUKCIJE U TONAMA WEIGHT OF STEEL ROOF CONSTRUCTION IN TONS

39 Vrlo bitan element krovne konstrukcije je stabilizacijska rešetka. To su dva uzdužna elementa koja vise s glavnih nosača i spajaju ih. Rešetke služe da anuliraju asimetričnost opterećenja poput nagomilanog snijega i slično. Dodatno se opterećenje jednog nosača putem stabilizacijskih rešetki rasporedi na ostale nosače, što nam omogućava i zamjenu kabela. Ako se nešto dogodi, možemo otpustiti željeni kabel, a ostali će preuzeti dodatno opterećenje. Pokazalo se da to sjajno funkcionira već i u fazi montaže. Također, forma krova je osjetljiva na djelovanje vjetra, odnosno odizanje, pa stabilizacijska rešetka služi i kao potrebni dodatni teret. The stabilisation girder is an essential element of the roof structure. This consists of two longitudinal elements that are suspended from the main girders and join them. They are used to cancel out asymmetrical loading like snow piling up and so on. If one girder is overloaded, then the excess load is transferred to the other girders via the stabilising girder, which also enables us to replace cables. If something happens, we can relax the desired cable, and the other cables will take up the extra load. It turned out as early as the assembly stage that this works brilliantly. And the roof shape makes it sensitive to the effects of the wind, i.e. to lifting, and the stabilisation girder works as an additional necessary load. BERISLAV MEDIĆ, UPI 2M D.O.O.

40 Osnovni element krovne konstrukcije sastoji se od 23 osi po 11 nosača. Svaka od 23 osi je različita zbog geometrije zaobljenosti. Izrada zahtijeva da se svaki nosač radi posebno jer ne postoje dva identična. Svi spojevi konstrukcije ostvaruju se zavarima kvalitete I i visokovrijednim pocinčanim vijcima. Sveukupno postoji približno spojeva. Konstrukcija krovišta dvorane su čelični valjani H profili HEB 450 ovješeni preko raspona od 100 m sustavom ovjesnih pletenih užadi promjera Ø60 mm i vješaljki iz punih kružnih čeličnih profila Ø35 mm. The basic element of the roof construction consists of 23 axes, with eleven girders each. Each one of the axes is different because of the geometry of the curvature. Each girder has to be made separately because there are no two identical ones. All the structural joins are done with top quality welds and expensive galvanised screws. Altogether there are about 6500 joins. The roof structure of the hall consists of rolled steel HER 450 H sections suspended over a span of 100 m with a system of suspended plaited cables of 66 mm diameter and solid circular-section suspension rods 35 mm in diameter. ANĐELKO FEREK JAMBREK, M PROFIL D.O.O.

41 Na gradilištu se montiraju sekcije krovne konstrukcije. Pojedina se os sastoji od 11 nosača. Na gradilištu se predmontiraju segmenti od po 3 osi. Dakle, imamo 3 osi puta 3 elementa, a to je 9 što čini jedno polje, zbog dizanja. To polje je trodimenzionalno složeno. Sve smo nosače geodetski snimali u pogonu da bismo ostvarili lagano zakrivljenu geometriju i poziciju pojedinih elemenata u prostoru. Bit je u tome da mi moramo po nacrtima poštivati sve kote i mjerilo unutar milimetar ili dva i onda se dobiju mjere koje odgovaraju. The sections of the roof structure are assembled on-site. An individual axis consists of 11 girders. At the site, segments of three axes each are pre-assembled. So we have three axes of three ele ments each, and that makes 9, which is one field, because of the design. This field is arranged three-dimensionally. We surveyed all the girders in the plant to get a slight curved geometry and the position of individual elements in the space. The point here is that we had to stick to all the heights and the scale according to the drawings to a millimetre or two, and then the measures that suited were obtained. ANĐELKO FEREK JAMBREK, M PROFIL D.O.O.

42 Ingra je, kao glavni izvođač radova, sa svojim inženjerima, ekonomistima i ostalim osobljem vodila cijeli projekt. U gradnji je sudjelovalo, u većoj ili manjoj mjeri, oko stotinjak različitih tvrtki koje su svaka u svojoj djelatnosti pridonijele uspješnom završetku projekta. U pojedinim fazama izgradnje na gradilištu je radilo više od ljudi dnevno, a ponekad prema potrebi i kad je tehnologija posla zahtijevala, radilo se i noću. Zbog velikog broja različitih aktivnosti koje su se paralelno odvijale, da bi se mogla pratiti dinamika i osigurati rad svima, svakodnevno su se održavali koordinacijski sastanci. Mimo tih sastanaka, jednom tjedno održavali su se sastanci predstavnika svih izvođača, projektanata i nadzorne službe. Ingra, as the principal contractor, has led the entire project via its engineers, economics experts and other staff. About one hundred different companies participated, in varying degrees, in the construction, each of which contributed to successful project completion in their own line of expertise. During certain construction phases over 1,000 people were working at the site every day; even at night, when necessity and technology required. Coordination meetings were held daily because of the large number of different activities taking place at the same time, and in order to be able to keep track of the dynamics so that everybody could have favourable working conditions. Apart from these meetings, meetings of representatives from all the involved companies, designers and supervisory services were held once a week. DARKO IVANDA, INGRA D.D.

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44 840 BROJ KROVNIH VJEŠALJKI NUMBER OF ROOF SUSPENSION CABLES

45 Projekt je razmjerno velik i teško je očekivati od projektanta da može predvidjeti svaku sitnicu te je prikazati na način da je jasna krajnjem izvršitelju. Ponekad postoje neke nedoumice, a moja je uloga da vidim o čemu je riječ i pokušam ih objasniti u suradnji sa svojim suradnicima i kolegama. Ako je u pitanju nešto što bi zahtijevalo projektantsku odluku ili intervenciju, konzultiramo se s projektantima i problem se riješi. U Ingri smo radili projekt organizacije i tehnologije građenja gdje su osnovne aktivnosti razrađene i predviđene, ali postoji i niz drugih manjih poslova koje bi bilo vrlo teško detaljno isplanirati unaprijed. Poslije je projekt dopunjavan i dorađivan po segmentima, prema potrebi. The project is relatively big and the architects can hardly be expec ted to foresee every little detail and present it in such a way that it s clear to the contractor. Sometimes there are some doubts, and it s my job to see what they re about and attempt to explain them, working together with associates and colleagues. If it involves something that requires a decision or intervention from the archi tect, then we consult with the architects and the problem gets solved. In Ingra we worked out the project organisation and building technology, in which the basic activities were determined and anticipated, but still there is a string of lesser activities that would have been very difficult to plan in detail in advance. Later on the plan was filled in and worked up in segments, when needed. DARKO KORETIĆ, INGRA D.D.

46 Dizanje sajli također radimo posebnim tehnologijama. Glava na koju ide matica za zatezanje mora biti posebno zaštićena. Sajle se na krov dižu u kolutima gdje se rastežu. Kad se na krovu nategne sajla, vješaju se štapovi. Prilikom rastezanja sajli potrebno je odrediti kut pod kojim će pojedina sajla ući u rupu u lameli i dizati ih u potpunosti prema gore da se ne oštete štapovi koji vise na njima Naše je da dovedemo sajlu do mjesta gdje se mogu zavinuti matice koje se utežu prešama. We also did the lifting of the cables with special technologies. The head on which the tensioning screw goes has to be specially protected. The cables go to the roof on drums and they are then stretched out. When the cable is tensioned on the roof, the rods are suspended. While the cables are being stretched you have to determine the angle at which each cable will go into the hole in the concrete rib and lift them all the way up so as not to damage the rods that are suspended from them. It was our job to get the cable to the place where the nuts that are weighted with presses could be turned. TOME LUČIĆ, TL TOME LUČIĆ D.O.O.

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48 Krovna konstrukcija na neki način lebdi nad dvoranom. Kablovi se ovisno o temperaturi produljuju i skraćuju, položaj se krova mijenja kako se što na njega objesi, a u betonskoj se lameli deformacije događaju godinama. Dakle, sklop krova je jako fleksibilan i dovesti ga u željenu geometriju svakako nije bio jednostavan posao. The roof structure is in a way floating over the hall. The cables expand and contract with temperature, and the position of the roof changes, as does whatever is suspended from it, and over the years deformation will occur in the ribs, and so the roof set is very flexible, and so getting into the right geometry was not a very simple job. BERISLAV MEDIĆ, UPI 2M D.O.O.

49 Pokrov dvorane sastoji se od trapeznoga perforiranog lima. Na njega dolazi PE folija, tj. parna brana, zatim 200 mm termoizolacije, te na kraju PVC folija koja je završni sloj hidro i termoizolacije. Te folije se vare. Specifičnost ovog rješenja je u brzini gradnje koja je ovdje presudna. Kvaliteta radova varenom folijom je, naravno, dodatna sigurnost hidroizolacije. Jednostavniji su raznorazni elementi detalja spojeva hidroizolacije. The covering of the hall consists of perforated trapezoidal corrugated steel sheets. After that comes PE foil, i.e. a vapour barrier, then 200 mm of thermal insulation, and at the end PVC foil, which is the final hydro and thermal insulation layer. These foils are heat sealed. The particular feature of this approach is in the speed of construction, which was the vital element here. The quality of works with heat sealed foil is of course the extra security of hydro insulation. The varied elements of the details of the joins of the hydro insulation are simpler. VLADIMIR PAVUŠIN, PAVUŠIN D.O.O., limarski i izolaterski radovi krova / metal plating and insulation roofing works

50 POVRŠINA ČELIČNIH VISOKOVALNIH PROFILIRANIH LIMOVA NA KROVU U KVADRATNIM METRIMA SURFACE OF STEEL ROOF SHEETS IN SQUARE METRES

51 48 BROJ KROVNIH KUPOLA ZA ODIMLJAVANJE NUMBER OF ROOF VENTS FOR SMOKE EVACUATION

52 8.760 POVRŠINA POLIKARBONATNIH FASADNIH PLOČA U KVADRATNIM METRIMA SURFACE OF THE POLYCARBONATE FACADE ELEMENTS IN SQUARE METRES

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54 POVRŠINA OBOJANIH PLOHA U KVADRATNIM METRIMA PAINTED SURFACE IN SQUARE METRES

55 UKUPAN VOLUMEN INTERIJERA ZGRADE U KUBIČNIM METRIMA TOTAL VOLUME OF THE BUILDING S INTERIOR IN CUBIC METRES

56 VOLUMEN BETONA U KUBIČNIM METRIMA VOLUME OF CONCRETE IN CUBIC METRES

57 Cilj je dizajna sustava usmjeravanja i označavanja Arene Zagreb postići da korisnici u svakom trenutku znaju gdje se nalaze, u kojem se smjeru nalazi njihovo odredište (sjedalo, garderoba, WC itd.) i koji je optimalan put do njega. Korisnike treba voditi tako da lako prepoznaju svoj cilj i da budu sigurni da se uvijek znaju vratiti na početnu točku ulaska, koji je u našem slučaju istovremeno i izlaz. Svi elementi sustava zato moraju pružati konkretnu trenutačnu uputu za kretanje i istovremeno uvažavati prostorne elemente koje korisnik percipira kao uporišta u stvaranju mentalne mape, a to su, primjerice, bojom kodirani sektori, cirkulacija, točke odluke, zone, specifični prostorni orijentiri itd. The objective of the wayfinding and signage design in the Zagreb Arena was to make sure that the users at any given moment should know where they are, and what the direction of the place they want to go is (seats, coatrooms, toilets and so on), and what the best way to get to it is. Users have to be directed so they can easily recognise their objective and be sure that they will always know how to get back to the place where they came in at, which in this case is also the exit. All the elements of the system must then provide concrete and instantaneous instructions for movement and at the same time respect the spatial elements that the user perceives as key-points in the creation of a mental map, for example, the colourcoded sectors, the circulation, decision points, zones, specific spatial signposts and so on. IRA PAYER, CAVARPAYER D.O.O., dizajn vizualnog identiteta i sustava usmjeravanja / visual identity and wayfinding system

58 Zajednička odluka s investitorom bila je visoka inkluzivnost i visoka usmjerenost korisnicima čitljivost i vidljivost provjereno je besprijekorna iz svih kutova, piktogrami su nedvosmisleni, a odabrana tipografija je posebno prilagođena slabovidnima i u tom smislu ima i službeni certifikat. Iako je kodiranje bojom u Areni Zagreb dosljedno provedeno i služi kao važan alat u usmjeravanju, projekt signalizacije funkcionira i u slučaju kada korisnik ne raspoznaje boje, jer boja samo pomaže u orijentaciji, a nigdje ne zamjenjuje egzaktnu verbalnu informaciju. A decision made together with the client was that design should be inclusive and user-orientated the legibility and visibility have been shown to be impeccable from all angles, the pictograms are unambiguous, and the typography employed is particularly adapted to the visually challenged, and has an official certificate to that effect. Although the colour coding in the Zagreb Arena has been carried out consistently and serves as an important tool in the directions, the signage project also functions if a user cannot distinguish colours, because colour only assists in orientation, and never replaces exact verbal information. IRA PAYER, CAVARPAYER D.O.O.

59 919 UKUPAN BROJ PARKIRNIH MJESTA TOTAL NUMBER OF PARKING SPACE

60 300 PRIBLIŽNA MASA POMOĆNIH KONSTRUKCIJA U TONAMA APPROXIMATE MASS OF AUXILIARY CONSTRUCTIONS IN TONS

61 26 MAKSIMALNI BROJ REDOVA TELESKOPSKIH TRIBINA MAXIMUM NUMBER OF ROWS OF TELESCOPIC SEATING

62 DUŽINA CJEVOVODA GRIJANJA I HLAĐENJA U METRIMA LENGTH OF CLIMATE CONTROL DUCTS IN METRES

63 Projekt čini niz zavisnih, međusobno integriranih projekata. To su projekti videonadzora, nadzora pristupa, projekt evidencije ulaska posjetitelja, protuprovalne i protuprepadne zaštite, projekt sustava za dojavu požara i projekt detekcije CO. Preko jedinstvenog sučelja upravlja se svim zavisnim projektima. Svi su sustavi integrirani tako da je u bilo kojem slučaju sve povezano i s evakuacijom i sa svim ostalim događajima nužnim za sigurnost posjetitelja i objekta. Baš je zbog te integracije ovaj sustav jedinstven u Hrvatskoj, pa čak i u svijetu. The project consists of a number of dependent, integrated designs. These are video surveillance designs, access control, a design for registering visitor entry, anti-burglar and anti-intrusion protection, a fire alarm system plan and a CO detection plan. All the dependent projects are controlled via a single interface. All the systems are integrated in such a way that at any moment in time they are all connected with evacuation procedures and all the other events necessary for visitor and facility security. It is this integration that makes the system unique in Croatia and in fact in the world. STIPE BALJKAS, PROSPECTUS D.O.O., projekt tehničke zaštite / surveillance and security system design Tvrtka Soboli preuzela je konzalting poslove kompletnog osiguranja, od građevine u izgradnji, tj. gradilišta i same izgradnje objekta, preko planiranja, projektiranja i nadzora izvedbe i funkcioniranja sigurnosnih sustava buduće dvorane. Sam projekt osiguranja je multidisciplinaran. Buduće osiguranje dvorane temeljit će se na ugrađenim tehničkim sustavima zaštite, no daljnju organizaciju osiguranja preuzet će upravljački menadžment dvorane. Za samu građevinu kao finalni proizvod definirali smo tehnološke i sigurnosne procedure, odnosno protokole pristupa i kretanja u dvorani. Ideja vodilja projekta je sigurnost posjetitelja kao temeljna pretpostavka funkcioniranja sustava zaštite na ovako složenom objektu. Soboli has taken on the consulting of jobs of total security, from the building in the construction phase, i.e. the site and the actual building of the facility, via planning, designing and controlling the execution and functioning of the security systems of the future sports hall. The actual security project is multidisciplinary. The future security of the hall will be based on the security systems built in, but the further organisation of the security will be taken over by the management of the hall. For the building itself, as a final product we defined the engineering and security procedure, the protocols for accessing the hall and movement in it. The principal idea of the project is visitor safety, the basic precondition for the working of the security system in a building as complex as this. VLADIMIR CELINŠĆAK, SOBOLI D.O.O., sustav sigurnosti / security system

64 BROJ NUMERIRANIH SJEDEĆIH MJESTA NA TRIBINAMA NUMBER OF NUMBERED SEATS IN THE STANDS

65 Dvorana je višenamjenska, multifunkcionalna i samim time akustika ne može biti idealna za sva događanja. Trebalo je odrediti mjeru gdje će biti zadovoljeno najviše korisnika i to tako da se najkritičniji događaji riješe, a one nešto manje kritične će se optimizirati na prihvatljivu razinu. Sigurno da su, akustički gledano, najvažniji vid događanja glazbene priredbe, i to one koje se rade putem ozvučenja s obzirom na veličinu dvorane. Toj vrsti koncerata pogoduje prigušen, tj. akustički suh prostor, tako da prostor što manje utječe na glazbu. Sportske priredbe, s druge strane, posebna su problematika s obzirom da ih se ne može napraviti u potpuno prigušenoj dvorani jer se onda gubi huk navijanja, a time i potpora domaćem timu. To su krajnje vrijednosti unutar kojih se projekt kreće. U ovakvim velikim dvoranama akustika se mora riješiti tako da se uklopi u rješenje interijera, a ako je akustika dobra, ona se praktički ne primjećuje. This is a multi-purpose hall and this very fact makes it impossible for the acoustics to be ideal for all events. One had to set the measure where as many users as possible would be satisfied, and for the most critical things to be handled, and the less critical could still be optimised. The most important type of event are music performances, those that use speakers, because of the size of the hall. This kind of concert is suited by a nonresonant, acoustically dry space, for the space to have the least effect on the music. Sporting events on the other hand are a special issue because they can t go on in a completely dry hall. Then the roar of the fans is lost, and so the home team doesn t get its support. These are the parameter extremes within which the plan moves. In halls of this size the acoustics has to be settled in such a way as to fit into the interior design, and if the acoustics is good, then it is hardly even noticed. PROF. DR. HRVOJE DOMITROVIĆ, ZAVOD ZA ELEKTROAKUSTIKU, FAKULTET ELEKTROTEHNIKE I RAČUNARSTVA, ZAGREB, projekt akustičkog uređenja / DEPARTMENT OF ELECTROACOUSTICS, FACULTY OF ELECTRICAL ENGINEERING AND COMPUTING, ZAGREB, acoustics design

66 Vrste intervencija su vrlo različite: od primjene akustičke apsorpcije, preko zakošenja površina do smanjenja broja ostakljenih ploha i difuzije. Područja intervencija su fronte VIP loža, krov arene, stražnji zid gledališta, fronte galerija, stražnji zidovi VIP loža i čelične grede krova. Kvaliteta zvuka i akustika objekta prilikom koncertnih izvedbi postaju ključne teme za muzičku industriju. Tijekom godina svjedočimo povećanim očekivanjima u pogledu kvalitete zvuka. Nadalje, izvođači teže digitalnoj CD kvaliteti zvuka i prilikom koncertnih izvedbi pa je potreba za kvalitetnom arhitektonskom akustikom imperativ. Arena Zagreb projektirana je prema visokim akustičkim standardima i ima sav potreban potencijal da je se okarakterizira kao prvoklasnu građevinu u krugu međunarodnih koncertnih prostora. The types of treatment are varied from the application of acoustic absorption, angling of surfaces, reduction of glazed areas and diffusion. Areas to be treated include: the fronts and the rear walls of the VIP boxes, arena roof, balcony fronts, rear walls of the spectator area and steel roof beams. The sound quality and acoustics within a venue are becoming key issues for the live music industry. Over the years we have seen an increase in audience expectation in respect of sound quality. Furthermore, artists are striving for digital CD quality sound for live performances so the need for good architectural acoustics is paramount. The Zagreb Arena is being designed to a high acoustic standard and has all the potential to be regarded as a first-class venue on the international concert tour circuit. JIM GRIFFITHS, VANGUARDIA CONSULTING, projekt akustičkog uređenja / acoustics design

67 Veronica je projektant, ali ujedno i izvođači specifičnih dijelova interijera Arene: svlačionica i garderoba, ugostiteljskih objekata, garderoba za posjetioce i recepcija, ulaza i info-pultova, VIP prostora i ureda. Dvorana je specifičnoga i suvremenog izgleda, a prema ideji glavnih projektanata dosta je minimalistička. Mi smo pokušali tu nit vodilju provesti do posljednjeg komada namještaja. Nismo išli na standardna rješenja ili kupovne produkte poput sportskog namještaja, nego smo sami dizajnirali i proizveli ormariće, klupe i slične elemente opreme. Bilo nam je važno da postignemo visoku kvalitetu u nama važnim prostorima, a to je javni prostor unutar zgrade. Mislim da ćemo se približiti najvišemu međunarodnom standardu. Veronica is the designer as well as the contractor for specific parts of the Arena interior: the changing rooms and lockers, catering facilities, visitor cloakrooms, reception, entries and info desks, VIP spaces and offices. The hall has a particular and contemporary appearance, and according to the ideas of the main architects it is fairly minimalist. We tried to carry this guiding principle out down to the last item of furnishing. We did not go for standard solutions or buy products like sports furniture, rather we designed and produced our own lockers, benches and similar items of equipment. It was important for us to achieve a highly quality in the areas that are important for us, and that is the public space inside the building. We think that we shall meet the highest international standards. RONALD PATAFTA, VERONICA D.O.O., projekt interijera i izvođač interijerskih elemenata / interior design, contractor for interior elements

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69 Javno-privatno partnerstvo generiralo je dinamičan razvoj većine europskih gradova koji su se opredijelili za ambicije slične ili još veće od Zagreba. Ono je potaknuto ne samo manjkom sredstava u javnom sektoru, nego i privatizacijom dobara neophodnih za razvoj, posebno prostora. Vrijednost prostora stalno raste, a Grad raspolaže s premalo vlastitih prostora, uz to, ne uvijek na lokacijama potrebnima za javne investicije. Priprema izgradnje Doma hrvatskog rukometa, gradnja Arene Zagreb kao jednoga od desetak hitno potrebnih sadržaja za novi razvojni skok Zagreba, uz partnerstvo Grada i Vlade Republike Hrvatske, za to je slikovit primjer. Public-private partnership has generated the dynamic growth of most European cities that have opted for ambitions the same as or much bigger than Zagreb s. It is prompted not only by a shortage of funds in the public sector, but also by the privatisation of goods essential for development, particularly land. The value of land is constantly on the rise, and the city authorities have too little of its own land at its command, and, in addition, not always in the areas necessary for public investment. The construction of the Zagreb Arena, one of the dozen urgent requirements for a new developmental leap of Zagreb, with the partnership of the city and the Government of the Republic of Croatia, is a telling example of this. MILAN BANDIĆ

70 Model javno-privatnog partnerstva primijenjen na Areni Zagreb podrazumijeva dugoročan zakup objekta od strane javnog partnera, koji nakon određenog broja godina postaje vlasnikom dvorane i svih popratnih sadržaja. Znači, javni partner objekt isplaćuje višegodišnjim zakupom, pri čemu je objekt izgrađen isključivo sredstvima investitora u čijem je i vlasništvu sve do isteka ugovorom dogovorenog roka zakupa. Osiguranje financiranja bio je jedan od zahtjevnijih zadataka kako bi se projekt uspješno i na vrijeme realizirao. U izgradnji Arene Zagreb Ingra je angažirala znatan dio vlastitih sredstava. Gotovo polovicu od ukupne vrijednosti projekta, koji iznosi otprilike 90 milijuna eura, činila su vlastita sredstva dok je drugi dio osiguran bankarskim kreditom BKS banke. Za Ingru, tvrtku s više od 50 godina iskustva u vođenju velikih investicijskih projekata, Arena Zagreb predstavlja jedan od najvažnijih izvedenih projekata. The model of public-private partnership applied to the Zagreb Arena implies a long-term lease by the public partner, which becomes the owner of the hall and all auxiliary objects after a certain period. This means the public partner pays for the facility through the long-term lease, while the facility is constructed exclusively using the funds of the investor, who owns it until the end of the contracted lease period. Ensuring financing was one of the more demanding tasks in order for the project to be realised successfully and on time. Ingra engaged a significant portion of its own funds in the construction of the Zagreb Arena. About half of the total value of the project, which amounts to EUR 90 million, came from Ingra s own funds, while the other part was secured through a bank loan from BKS. For Ingra, a company with over 50 years experience in executing large investment projects, the Zagreb Arena represents one of the most important projects it has executed. IGOR OPPENHEIM, INGRA D.D.

71 Izuzetna mi je čast da sam baš ja kao Zagrepčanin zabio prvi gol u novoj Areni Zagreb u prijateljskoj utakmici s Rusijom. Nadam se ta je taj prvi gol tek početak uspjeha hrvatskih sportaša u Areni Zagreb. Iako sam u inozemstvu igrao u dvoranama slične veličine, ipak je jedinstven osjećaj igrati na domaćem terenu i uz vatrenu podršku svojih navijača u jednom izuzetnom ambijentu. I meni osobno, i svim igračima hrvatske rukometne reprezentacije, a vjerujem i svim građanima, Arena Zagreb znači izuzetno mnogo i kao mjesto za velika sportska događanja, i kao novi graditeljski simbol grada Zagreba. It is a great honour to have scored the very first goal in the Zagreb Arena, especially me being from Zagreb, during the friendly match with Russia. I hope this first goal is but the start of Croatian athletes list of succes ses in the Zagreb Arena. Even though I have played in sports halls of this size abroad, it is nevertheless a unique feeling to play on a home field, enthusiastically supported by 15,000 fans in an exceptional environment. To me personally, and to all players of the Croatian national handball team, and I believe to all citizens, the Zagreb Arena means a lot, both as a venue for large sports events, and as a new architectural symbol of the City of Zagreb. IGOR VORI, hrvatski rukometni reprezentativac / Croatian national handball team player

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73 Igor Oppenheim, Marijan Kostrenčić, Darko Ivanda, Vesna Ledić Oppenheim, Sandra Obuljen, Damir Crnković, Hrvoje Cesar, Darko Koretić, Bruno Brunović, Đeno Jurišić, Tomislav Šindler, Jasminka Vusak, Željko Šilić, Slobodan Suša, Igor Muža, Dejan Dragić, Dalibor Mesarić, Marija Dodig, Tomislav Delivuk, Ivan Risek, Tomislav Skočibušić, Jelena Bučan, Tomislav Antunović, Željko Špoljarić, Dinko Pejković, Danko Deban, Tomislav Kušenić, Miran Kožar, Ivan Getaldić, Tanja Turudija, Petar Radošević, Davor Banovac TIM ARENA ZAGREB INGRA, D.D. / THE ZAGREB ARENA TEAM INGRA, D.D.