Institut za povijest umjetnosti
HR - 10000 Zagreb, Ul. grada Vukovara 68


Pregledni znanstveni članak • Subject Review
UDK • UDC 712.253 (497.5 Zagreb/Maksimir) "17/18"
UDK • UDC
Znanstvena klasifikacija • Scientific Clasification


Područje: Tehničke znanosti • Section: Technical Sciences
Polje: Arhitektura i urbanizam • Field: Architecture and Urban Planning
Grane • Branches:
2.01.05. - Vrtna i pejsažna arhitektura • Landscape Architecture and Landscape Design
2.01.04. - Razvoj arhitekture i urbanizma i obnova graditeljskog naslijeđa • Development of Architecture and Urban Planning and Restoration of the Built Heritage
 Humanističke znanosti • Humanities
Znanost o umjetnosti • Science of Art
6.05.01. - Povijest umjetnosti • Art History


Rukopis primljen • Manuscript Received: 30. 12. 2002.
Članak prihvaćen • Article Accepted: 28. 05. 2003.


Vrhovčev i Haulikov Maksimir



Maksimir Park Planned by Vrhovac and Haulik
 

Ključne riječi • Key words

francuski barokni perivoj
Maksimir
pejsažni perivoj
Zagreb		 French Baroque park
Maksimir
landscape park
Zagreb

Sažetak • Abstract

U tekstu je analizirana Vrhovčeva koncepcija perivoja (1787.), s polazištem u podacima koje iznosi Haulik u svom albumu Park Jurjavés (1853.). Sudeći prema tim navodima, perivoj je u tlocrtnom smislu imao francuska barokna obilježja, no autor ukazuje i na vrlo prisutnu romantičnu komponentu izraženu u smještaju središta zvjezdaste kompozicije na povišen i nepravilno oblikovan teren te u planiranom smještaju neke građevine u to središte. Smatra se da je stanovit odraz Vrhovčeve radijalne kompozicije bilo moguće odčitati i u Haulikovo doba (karte iz 1846. i 1853. godine), i to u "lepezastom" rasporedu sjeverno od vidikovca. Jedina tri poznata i donekle sačuvana elementa Vrhovčeva perivoja (središte zvjezdaste kompozicije, prilazna aleja, ulaz) interpretirana su s obzirom na kasniju transformaciju, odnosno s obzirom na djelomično nove uloge koje su im pripale u Haulikovoj koncepciji perivoja.

This paper presents the concept of the park designed by Vrhovac (1787) and based on data found in the Haulik´s album Park Jurjaves (1853). According to this source material, the park had French Baroque features in plan with a noticeable romantic component evident in the placement of a star-shaped composition on raised and irregularly shaped ground with a centrally placed building. It is considered that a trace of the Vrhovac´s radial composition might have been found in the Haulik´s period as well (maps from 1846 and 1853), particularly in the fan-shaped layout north of the Vidikovac building. The only known and to some extent preserved elements of the Vrhovac´s park are the center of the star-shaped composition, the access alley and the entrance. They are analyzed with regard to subsequent transformation, that is, the roles they were assigned in the Haulik´s concept of the park.

Summary • Sažetak

Maksimir Park Planned by Vrhovac and Haulik

 
The Maksimir park in Zagreb was named after its first designer, the bishop Maksimilijan Vrhovac, who started to arrange it after his appointment as a bishop in 1787. A few years later, works were interrupted due to a scandal in which Vrhovac was involved and accused as a member of freemasonry movement. The unfinished park was abandoned. Its reconstruction started in the period of the bishop Haulik (about 1838).
Information on the original park design conceived by Vrhovac can be found only in the foreword to the album Park Jurjaves published by Haulik in 1853. It seems as if Haulik was familiar with the original lost park plan. According to his words, it had been a star-shaped composition made up of ten forest paths with a centrally placed structure. Haulik stated that, after the works had stopped, quite a large amount of unused building material was left at the site. Having in mind straight lines of Vrhovac´s composition, Haulik described it as a French park although it had undoubtedly had essential features of a landscape park. The center of the park was placed on raised and hilly ground. The planned structure was not certainly meant to be the Vrhovac´s residence but some sort of a pavillion or "temple". Vrhovac had obviously been familiar with the principles of landscape park design. This assumption is based on his well-known close relations to freemasonry ideas as well as the fact that, at the time of designing the Maksimir park (1779-1785), he had owned Hirschfeld´s famous book entitled Theorie der Gartenkunst.
In his landscape park design, Haulik made use of "natural" winding paths; he preserved, however, one of the straight extensions of the original "star" as one of the main park alleys; he obviously appreciated the view opening from the entrance to the small hill through the oak forest. He put up the Vidikovac building on top of a small hill and called it a "kiosk". This structure had no longer a central role as in Vrhovac´s park concept, since radially positioned paths mostly disappeared. It represented just one of the attractions of the new landscape park.


Andrej Žmegač