ABSTRACTS BOOK. 80 th. Agricultural Science in Croatia at the Treshold of the Third Millenium XXXV CROATIAN SYMPOSIUM ON AGRICULTURE

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1 1999 February 22-25, 1999 * Grand hotel Adriatic * Opatija Agricultural Science in Croatia at the Treshold of the Third Millenium XXXV CROATIAN SYMPOSIUM ON AGRICULTURE 80 th ANNIVERSARY OF THE FACULTY OF AGRICULTURE UNIVERSITY OF ZAGREB 1919 with an International Participation ABSTRACTS BOOK

2 AGRICULTURAL SCIENCE IN CROATIA AT THE TRESHOLD OF THE THIRD MILLENIUM 237 THE CONTEMPORARY PROFILE OF LANDSCAPE ARCHITECTURE Dušan OGRIN This paper was provoked by a subdued image of the profession of landscape architecture in our society. Unfortunately, the situation is not much better in the related disciplines, therefore such a treatise seems appropriate at this point of time. I would like to begin with an issue of paramount importance, namely: can landscape architecture produce works of art? If it were not possible to give an affirmative answer to this question, landscape architecture would not exist and this paper would be oblivious. It may seem paradoxical, but it is a matter of fact that landscape architecture as an art of making landscapes, no matter under what names it appeared in history, has never been thoroughly founded. The fact that the landscape artefacts, e.g. of the Renaissance, Baroque or Japan, are works of art was taken for granted and never questioned nor theoretically verified. Surprisingly enough, even the great authors, like Christian Hirschfeld in his monumental Theory of Garden Art in seven volumes (1) or Marie-Luise Gotthein in her still unsurpassed History of Garden Art (2), bypassed this issue. These omissions ununderstandably continue into our time as is clearly demonstrated by the large recently published volume on History of Garden Design (3). However, it seemed to me necessary to offer to this conference a more articulated image of what landscape architecture is as a design, artworks producing discipline. Namely, if we want an answer to the question: can landscape architecture produce works of art, we must be able to anchor this issue into the broader context of art definition. Here is a shortcut towards this goal in a very generalised formulation: Certain man s activity can achieve the status of art only when it meets some general requirements, such as: - when it makes a contribution towards further humanisation of man - when it clearly reflects man s conditions of life, his anguish and strivings, falls and rises, his per aspera ad astra, and - when it can express all that in a clear and specific language of forms. In a more detailed articulation, the essential features that determine landscape architecture as an art can be, in my opinion, described in the following nine fundamental points: 1. The ability to transcend, to mean something else than the sheer, visible reality of the object itself is saying. In other words, landscape architecture is capable of producing meaningful signs, symbols. 2. Possession of specific techniques by which during the design procedure landscape materials are translated into logical, legible structures. 3. Development of the own formal language that makes landscape architecture clearly distinguished from other visual arts. The way in which its materials are creatively processed determines the most important ontological features of any art discipline. There is a saying by Ernesto Grassi that is crucial in this context (quote): Modern art - and this equally refers to arts of any period - is art only then when its materials serve the presentation of certain ideas of human possibilities (3). With this feature stands or falls the ability of any visual production to promote itself into the status of art. Conclusion of this point is: Garden art/landscape architecture was not only capable of producing specific means of expression but has also been able to integrate itself in any stylistic configuration in history, from ancient Egypt up to the modern times. 4. Use of own, specific materials just as is the case in other art disciplines; however, here in a widest possible selection of both living and non-living natural to artificial materials. This is an important chapter. The great German philosopher Arthur Schopenhauer, when discussing theoretical aspects of architectural design has referred also to landscape architecture. In his most important work Die Welt als Wille und Vorstellung he made a statement: Garden art does not have such a good command of its materials as is the case in architecture and a little further: The beauty... belongs almost entirely to nature, the contribution of garden art to it is quite modest... (4). As far as the difficulty in the control of the landscape material is concerned he was right. LANDSCAPE ARCHITECTURE XXXV CROATIAN SYMPOSIUM ON AGRICULTURE

3 238 HRVATSKA AGRIKULTURNA ZNANOST NA PRAGU TREÆEG TISUÆLJEÆA But for the rest, the great philosopher was not familiar enough with the phenomenal achievements e.g. of the Renaissance and the Baroque or Sino-japanese legacies where landscape materials are treated with a brilliant skill. 5. Mirroring and depicting the contemporary social conditions and even more: landscape architecture has also contributed to the social and cultural formation of any period. 6. Marking the position of man on the earth in a clear, recognisable form 7. Provision of security for man throughout the entire history, especially by supplying him with status symbols 8. Landscape architecture is a part of the historical awareness of mankind, an overall incorporated societal experience Landscape architecture has made, like architecture, an important and very specific contribution in humanising Man which is the highest accomplishment that any art can possibly achieve. Again and again, it has helped Man to exceed the already achieved level of social awareness and in this way to foster and further continue the process of humanisation. Means of expression - design language in landscape architecture In order to reach these high goals, landscape architecture had to develop a great variety of composition techniques and means for expression. This development was extremely difficult because landscape design had first to separate its materials, plants, rocks, land, water, from the world to which they belong, that means alienate them from nature, in order to be able to create a new reality, a reality that could carry man s messages and permanently communicate them. It must not be forgotten that throughout history, until very recently, this natural world has been perceived by Man as hostile and as a source of uncertainty. Considering that, landscape architecture represents a unique spiritual rise of Man, indeed, a triumph of his creative genius and achievement in the most demanding and difficult means of expression among all arts - in the living natural material. Let me briefly outline some basic procedures in which landscape architecture creates a formal language of its own. These techniques are incomparable with any other visual discipline. As mentioned, our main material comes from the nature with familiar characteristics. If we are to process them into structures that should mean something else than the very nature, we must take away any association with their natural habitat. Such interventions take place through a series of abstractions. These are - transfiguration as the oldest form of abstraction; it first appeared as a tumulus, a burial mound, certainly of the earliest man s remodelling of the land; the purpose: gaining favour of the predecessors by protecting their dead bodies from animals; later on this procedure was extended to water, plants and rocks; - regular arrangement which is a form of spatial order developed already in the prehistoric cultures as circular, in civilisations of Mesopotamia and ancient Egypt as linear, and later accomplished by Roman quincunx as grid formations; - agglomeration as the assembling of a number of individual elements, trees or rocks, so that they form a new plastic entity: clumps of trees in the English landscape movement or shanshui, motif of mountain and water in the Chinese legacy; - reduction of three-dimensional bodies into planar structures (massing flowering and ground cover plants or stones into homogeneous surfaces) where individual features are subdued in the new plastic phenomenon; - synchronising different scales in the same layout as it frequently appears in karesanzui landscapes. Further forms of abstraction include, among others, atectonics, isolation, symbolic substitution, thematic reduction and some others. Talking about design language, we must bear in mind that we get here products, both at the vocabulary and the syntactic, hierarchically higher level. XXXV ZNANSTVENI SKUP HRVATSKIH AGRONOMA UREÐENJE KRAJOBRAZA

4 AGRICULTURAL SCIENCE IN CROATIA AT THE TRESHOLD OF THE THIRD MILLENIUM 239 It is very important to note that use of abstraction was made not only in the geometrical approach but also in landscape design that operates within the organic landscape morphology, like in the landscape style, and in the Chinese or Japanese traditions. This implies also a clear negation of the often suggested theses of the mimetic, imitative nature of landscape design. The entire phenomenology of abstraction evidently contradicts such theories which appear even in our time. A thorough analysis of any landscape artefact in history, from ancient Egypt through Renaissance, Baroque, English landscape style, Chinese, Japanese or Islamic garden would clearly show that they all are based on abstraction procedures. It is precisely these methods of generating design language that yields landscape architecture the highest level of the autonomy and identity among the visual arts. Relationship with other plastic arts There has always been a keen interest in the relationship between visual disciplines. This particularly refers to painting and architecture as being close to landscape architecture in one way or another. In the 17 th Century England, there has developed a widespread opinion that the composition technique of the landscape style was largely modelled after paintings by Claude Lorrain, Poussin and others. It is beyond any doubt that the painting was partly instrumental in the formation of the new style. It has certainly helped to shape the pictorial scheme of the period, but the real forces behind the origin of the English style are in the specific socioeconomic and political situation of England as an emerging parliamentarian democracy in conflict with the feudal court, and also as a becoming leading imperial power. As such it could not accept the spatial symbols of the baroque/feudal era imported from her greatest political rival - then still feudal France. Also, we should keep in mind that the idea of the new landscape was first conceived in the English pastoral poetry. Therefore, such conclusions are risky. Or, it could equally be put that also the Neo-Palladian architecture was derived from Lorrain s paintings which, of course, makes no sense. Another questionable statement of this kind would be to say that paintings of Mondrian have generated Modern architecture or landscape design. This is partly true, but only in so far as all arts have originated in the same atmosphere of philosophical ideas, social movements, economic conditions, aesthetic spirit of the period, advances in natural sciences etc. In this context, a saying by Kandinsky sounds most relevant: We can learn from the related disciplines, however, the recognitions we borrow from them must be processed according to composition laws of our own discipline. Speaking about relationships, we must, in the first place, be aware of the differences and the demarcation line between painting on the one hand, and architecture and landscape architecture on the other. Painting is representational art, it shows certain reality in two-dimensional images. On the contrary, architecture and landscape architecture do not represent anything, they are realities themselves, man-made physical worlds and not pictorial presentations. This was well shown by Schopenhauer: The art of building differs from the plastic arts (painting and sculpture) and the poetry in that it is not an after-image, an imitation, but constitutes the reality (6). Susan Langer supports this viewpoint saying that: The architect deals with a created space, a virtual entity (7). Needless to say, these statements fully apply also to landscape architecture. The fundamental ontological difference of the arts in question can briefly be shown in the following comparative scheme: painting, sculpture architecture landscape architecture depict a reality creates a new creates a new, non- (e.g. landscape) hitherto unknown existing world by using figures) or ideas using reality by using material material that does possess amorphous material without aesthetically own natural shapes which (paints, charcoal, clay, perceivable shape can be subject of aesthetic stone, wood etc.) (cement, clay, sand, brick) appreciation (rocks, plants). LANDSCAPE ARCHITECTURE XXXV CROATIAN SYMPOSIUM ON AGRICULTURE

5 240 HRVATSKA AGRIKULTURNA ZNANOST NA PRAGU TREÆEG TISUÆLJEÆA A comparative scheme showing common and differential features LANDSCAPE ARCHITECTURE ARCHITECTURE Social subordination High High Social function Solving problems in Solving problems arrangement of open spaces in building Impact of the programme on designed structures Medium High Site dependence/relation High or (rarely) low None to low (rarely high) Ecological dependence High Low to none Planning procedure Largely identical Problem definition - site recognition/evaluation- analysis - development of alternative concepts - selection and elaboration of the optimal alternative - final plan - graphic, verbal and numeric presentation Design methods Essentially different Determined by characteristics Processing of inorganic, often of natural materials that impose prefabricated materials that numerous constraints; constituted allow great to full freedom of a series of versatile abstractions; in design Most importantly: landscape design deals with complex, architecture with basically individual structures Morphology of designed artefacts Organic (close-to-nature) Geometry-based forms or geometrical Spatial character Prevailingly planar Exclusively three-dimensional Single nature - all exterior, Double nature: interior and exterior, hence direct design approach hence a more complex design approach; Corbusier: The Plan proceeds from within to without; the exterior is the result of an interior (8) Adaptability/susceptibility for change High to low Low Predictability Low in designs close to nature, Completely under control high in geometrical arrangements Time dynamics Subject to considerable changes None to low due to dynamics of growth and natural wearing processes Environmental attitude More or less beneficial Always more or less detrimental XXXV ZNANSTVENI SKUP HRVATSKIH AGRONOMA UREÐENJE KRAJOBRAZA

6 AGRICULTURAL SCIENCE IN CROATIA AT THE TRESHOLD OF THE THIRD MILLENIUM 241 The above scheme was made in an attempt to outline the characteristics to the best of my knowledge and as objectively as I could. Certainly, there are shortcomings which I would be happy to receive in any form., also will be obliged for any amendment. Sometimes, there appear theses that architecture and landscape architecture are actually the same profession. It is true, they are the closest disciplines among all visual disciplines. However, a careful study of the essentials in both professions would unveil deep differences that do not allow such conclusion. Also the practice does not approve such assertion. Yet, we must never forget that these two professions are crucial for the quality of our environment. Hence our responsibility to develop a feeling of the belonging to common objectives and awareness of need to act so that our forces are combined in a sinergetic effect. It should not be difficult to note that the above statements are design-oriented. Such an interpretation was made in order to clarify some relationships and to outline the ontological essence of our profession. However, in our century, especially in the period after the world war two another facet of landscape architecture has expanded enormously. Here I have in mind the landscape planning, a discipline of landscape architecture that is dealing with development and conservation aspects of landscapes. It provides basic knowledge about landscapes in their cultural and ecological dimensions, and interpolates these recognitions into the process of land-use decisions. In this quality, it an indispensable partner of urban and regional planning with a growing importance in the years to come. This text is a partly modified key-note paper presented at the IFLA Conference on Art and Landscape in Athens Department of Landscape Architecture, Biotechnical Faculty, University of Ljubljana Jamnikarjeva 101, 6100 Ljubljana, SLOVENIA PLENARY LANDSCAPE ARCHITECTURE XXXV CROATIAN SYMPOSIUM ON AGRICULTURE

7 242 HRVATSKA AGRIKULTURNA ZNANOST NA PRAGU TREÆEG TISUÆLJEÆA DESIGNING PLURALISTIC URBAN LANDSCAPES Davorin GAZVODA Urban open spaces consist of numerous historical layers, each different in its meaning and form. Unlike architecture, landscape follows natural processes, which often blur social, political and aesthetic meanings, designed urban landscapes had originally. To identify individual landscape layers and distinguish persistent layers from those in constant transition is important for conservation of valuable urban landscapes and for designing new, complex urban spaces. This is especially true in countries which frequent or drastic social transitions are followed by inevitable but often less crucial spatial changes. New complex design proposals for urban landscapes which actually satisfy every day s requirements are more likely to resist social changes through time. For this reason a transformation of urban green ring, defined by The Path (historical monument and urban element) around Ljubljana, Slovenia is chosen to explain a complex relationship between society and space in transformation. Department of Landscape architecture, University of Ljubljana, Biotechnical faculty Jamnikarjeva 101, 6100 Ljubljana, SLOVENIA DOUBLE REFLECTIONS Space and time in the operative process of landscape architecture* Ana KUÈAN Projects and objects of landscape architecture are always double reflections. In the evolution from garden architecture to the architecture of the whole living environment, they emerged as manifestations of social order and expressions of human relationship to nature, moulding nature in various ways to achieve the desired aim. Dealing with living materiality landscape architecture continuously relates to insights into nature, which the natural sciences keep providing and supplementing anew. That is why knowledge on ecology has flowed into the field of landscape architecture to the full extent and labelled its contemporary design. The key in the operative process is to know the principles of natural processes in the created ecosystem, for we can turn them for the benefit of the designed structure. That is why it is important to address the issue of the perennial and ephemeral in open space design. Objects of landscape architecture that are far-removed from nature, as for example the renaissance and baroque gardens, require a high level of maintenance that is tied to high costs. In the economics of the urban policy, urban landscapes as most public areas require low maintenance costs by definition. The problem then is, how to achieve a desired spatial structure with minimum maintenance costs. It is associated with the operative process leading from the visions to practice, resulting in tangible reality. Many factors affect this process that can, if not properly considered in advance, lessen the control of the landscape architect over the envisioned effect. Two links in this operative chain can most influence the product: first, the end contractors, and second, the material itself. The object of landscape architecture is in most cases a living spatial structure, in which the processes of natural succession are under severe control. The apparent conflict between the designed and the coincidental exposes the dynamic quality, unique to the objects of landscape architecture that are inseparable pair of space and time. * The initial reflections on the problem of the operative process in landscape architecture were published in AB, architect s bulletin 27(1997) : Department of Landscape architecture, University of Ljubljana, Biotechnical faculty Jamnikarjeva 101, 6100 Ljubljana, SLOVENIA XXXV ZNANSTVENI SKUP HRVATSKIH AGRONOMA UREÐENJE KRAJOBRAZA

8 AGRICULTURAL SCIENCE IN CROATIA AT THE TRESHOLD OF THE THIRD MILLENIUM 243 POVIJESNO VRTNO PREDGRAÐE DUBROVNIKA PROJEKT ISTRAŽIVANJA OTVORENIH PROSTORA Bruno ŠIŠIÆ SAŽETAK Povijesno predgraðe Dubrovnika proteže se od zapadnih vrata srednjovjekovnog Grada do vodovodnog kanala na padini brda Srð, kojim je g. pitka voda bila dovedena u Grad. Saèinjavaju ga predjeli Pile (grè. ðßëáé = gradska vrata) i do njega Kono (lat. canalis = kanal). U Srednjem vijeku to je podruèje bilo prekriveno voænjacima, povrtnjacima i vinogradima. U Pilama se nalazi i mala luka. U 14. i 15. stoljeæu tu su bili ureðeni pogoni za proizvodnju tekstila, metala, stakla, kože i dr. Nakon gradnje vodovoda i njegovih krakova na tom se prostoru planski ureðuje sustav glavnih ulica. Od kraja 15. stoljeæa na Konalu i oko Pila grade se ljetnikovci okruženi prostranim oblikovanim vrtovima. U 17. stoljeæu ladanjski vrtovi okružuju Grad. Poslije velikog potresa g. na Pilama i Konalu poèinje gradnja kuæa za stalno stanovanje, oko kojih su bili ureðeni manji vrtovi. To je uvjetovalo da tijekom 18. st. Pile i Kono poprime karakter vrtnog predgraða. Širenjem grada u drugoj polovini 19. st. i osobito tijekom 20. st. podruèje Pila i Konala doživljava znaèajne promjene, koje uzrokuju kako uništavanje tako i cijepanje prostora brojnih starih vrtova. Pa i pored svega, tu još i sada postoji izvjestan broj vrtnih prostora iz razdoblja od 16. st. do pada Dubrovaèke Republike (1808), a takoðer i brojni njihovi ostaci. To staro vrtno nasljeðe uz novije vrtove i javne perivoje èini ovaj dio današnjeg Dubrovnika vrlo atraktivnim dajuæi mu ujedno karakter povijesne vrtne zone. Projektom sustavnog istraživanja vrši se identifikacija, inventarizacija i vrednovanje svakog pojedinog vrtnog i sliènog prostora. Prikupljena dokumentacija predstavlja podlogu kako za zaštitu svih tih prostora tako i za kvalitetno prostorno planiranje i ureðivanje predjela Pila i Konala u buduænosti. HISTORICAL GARDEN SUBURBS OF DUBROVNIK RESEARCH PROJECT OF OPEN SPACES The historical suburb of Dubrovnik stretches from the western gate of the medieval City to the waterworks canal at the slopes of the mountain Srð and it has been used to bring the drinking water to the City since It consists of the area of Pile (Greek ðßëáé =city gate) and nearing area of Kono (Latin canalis = canal). In the Middle Ages this area was covered with orchards, kitchen gardens and vineyards. There is also a small harbour in Pile. In the 14 th and 15 th century there was the industrial section there, with workshops for production of textile, metal, glass, leather, etc. After construction of the waterworks and its extensions the system of the main streets was systematically regulated in the area. From the end of the 15 th century in Kono and around Pile area the summer villas were built, surrounded by spacious and shaped gardens. In the 17 th century leisure gardens surrounded the City. After the terrible earthquake of 1667 the building of the houses for permanent living started in the area of Pile and Kono, which had small-arranged gardens around them. All that made Pile and Kono in the 18 th century have the character of a country garden suburb. By spreading the City in the second half of the 19 th century, and especially during the 20 th century, the area of Pile and Kono went through important changes, which caused destruction as well as partitioning of the area of numerous old gardens. Nevertheless, there is still a certain number of garden spaces dating from the period of the 16 th century until the fall of the Republic of Dubrovnik (1808), as well as their numerous remains. That old garden heritage with modern gardens and public gardens make this part of the present Dubrovnik very attractive, giving it at the same time the character of the historical garden area. The project of systematic research performs identification, inventory and evaluation of each and every garden and similar space. The collected documentation represents the basis for the protection of all these spaces, as well as for quality space planning and regulation of the area of Pile and Kono in the future. Kabinet za povijesne vrtove i razvoj krajobraza Dubrovnik Agronomskog fakulteta Sveuèilišta u Zagrebu Office for Historical Gardens And Landscape Development-Dubrovnik, HRVATSKA-CROATIA LANDSCAPE ARCHITECTURE XXXV CROATIAN SYMPOSIUM ON AGRICULTURE

9 244 HRVATSKA AGRIKULTURNA ZNANOST NA PRAGU TREÆEG TISUÆLJEÆA KATASTAR ZELENILA GRADA ZAGREBA Miroslav FRGIÆ SAŽETAK Odnos izmeðu èovjeka i prirode postoji od pamtivijeka. U gradskim sredinama usred gomile betona, asfalta, èelika, prašine i buke, zelenilo postaje jedno od najvažnijih potreba svakog graðanina. Ureðenje nekog podruèja i poduzimanje mjera zaštite ili ureðenja èovjekove okoline, te niz drugih zahvata u oblasti izgradnje i projektiranja nije moguæe, ako se ne raspolaže stanovitom dokumentacijom grafièkog i opisnog znaèaja iz koje bi bilo vidljivo što se na odreðenom podruèju interesa nalazi, odnosno kakvi su odnosi i druga znaèajna zbivanja na njemu. Dokumentaciju o kojoj je rijeè, moguæe je osigurati tek vršenjem detaljne geodetske izmjere te izradom odgovarajuæih evidencija i deteminacijom opisnog karaktera o pravnom i fizièkom statusu nekretnina na odreðenom podruèju. Radi toga postoje veæ katastar zemljišta, katastar vodova, katastar šuma, katastar pomorskih dobara i niz drugih evidencija. S druge strane zaštita okoliša kao jedna od prioritetnih djelatnosti, neophodno nameæe nove zadaæe svim sudionicima u prostoru, poèevši od urbanista-projektanata do izvoðaèa i drugih, pa je katastar zelenila i ostalih hortikulturnih sadržaja itekako znaèajan kao jedan od sustava u cjelokupnom katastru zemljišta. Katastar zelenila kao podprojekt GIS-a grada Zagreba definirao je: ciljeve projekta, funkciju projekta, veze s drugim informatièkim sustavima, hardwer/softwer okruženje, opseg i težinu projekta, izvoðenje po fazama, korištenje projekta i druge detalje vezano za isto. THE LAND-REGISTER OF GREEN AREAS IN TOWN ZAGREB The relationship between man and nature exist from the very beginning. In urban areas among huge amount of concrete, asphalt, steel, dust and noise, greenareas are one of the most important need of every citizen. Establishment of some area and undertaking some measure of protection or arrangement people s environment, and series of other grips in district of construction and projecting isn t possible if we don t dispose of certain documentation graphical and descriptive significance, from witch it could be seen what is on determined area or what are the relations and other significant occurrences on him. Documentation is possible to provide with detailed surveying measuring and making corresponding records determinate descriptive character about legal and physical status immovable property on determinate. Because of that we already have land-register, cadastral of lines, cadastral of woods, cadastral of marine possessions and other evidence. On the other hand, the protection of environment like one of priority activity is indispensably imposing new tasks to all participants in that area, starting from projector till performer of that work and all other involved and that s why land-register of green areas is very much important like on of the system in whole land-registry. The land-register of green areas, project of GIS town Zagreb, has define objects, function of project, connection with other information system, surrounding hardware/ software, degree and load of project and performance through stages, project use and other details linked (connected) with the same. Zrinjevac d.o.o., Remetineèka 15, Zagreb, HRVATSKA-CROATIA XXXV ZNANSTVENI SKUP HRVATSKIH AGRONOMA UREÐENJE KRAJOBRAZA

10 AGRICULTURAL SCIENCE IN CROATIA AT THE TRESHOLD OF THE THIRD MILLENIUM 245 NJEGA JAVNIH POVRŠINA ZELENILA GRADA ZAGREBA Ivanka MLINARIÆ SAŽETAK Površine zelenila, koje u naseljenim dijelovima grada Zagreba predstavljaju prostore zajednièkog korištenja izuzevši groblja i park šuma, podijeljene su godine prema pripadnosti tadašnjim opæinama, za ovaj rad nazvanima kotari zelenila. Za svaki kotar zelenila saèinjen je zaseban Popis javnih zelenih površina. Popisi 4 kotara zelenila, ukupno 41,6% evidentiranih javnih površina zelenila grada Zagreba u godini, ne svrstavaju površine zelenila po kategorijama krajobrazno-vrtlarske njege. Površine zelenila preostalih 6 kotara zelenila podijeljene su po kategorijama krajobrazno-vrtlarske njege unutar pojedinih kotara. Razlièito definiranje javnih površina zelenila i neujednaèenost kriterija pri odreðivanju kategorije krajobrazno-vrtlarske njege nepovoljno utjeèu na oblikovno-funkcionalno stanje javnih površina zelenila grada Zagreba. To dolazi posebno do izražaja na veæim površinama zelenila smještenima na granicama 2 ili više kotara zelenila. Stoga je bilo potrebno iz aspekta grada kao cjeline pronaæi odgovarajuæe kriterije za odreðivanje kategorije krajobrazno-vrtlarske njege. U novim su popisima,uz lokaciju površine zelenila i njezine ukupne velièine upisane i sve sastojine koje se nalaze na toj površini: travnjak, stabla, grmlje, ruže, živica, trajni i sezonski cvijetnjaci. Površine zelenila podijeljene su na vrste prema korištenju i namjeni te ubilježene na planu grada s oznakom vrste površine zelenila. Kategorije krajobrazno-vrtlarske njege površina zelenila odreðene su s obzirom na njihovu funkciju, smještaj u prostoru grada, vrstu te potrebe koje iziskuju sastojine odreðenih površina zelenila. MANAGEMENT OF PUBLIC GREEN AREAS IN THE CITY OF ZAGREB Green areas, as communal public areas in inhabited parts of the city of Zagreb, except for cemeteries and park woods, were in 1975 divided according to the city municipalities of that time and are called greenery districts for the purpose of this paper. A List of public green areas has been compiled for each greenery district. Lists for 4 greenery districts, constituting 41.6% of total registered public green areas in Zagreb in 1999, have been made without dividing green areas per categories of horticultural landscape management. Green areas of the remaining 6 greenery districts are classified according to the categories of horticultural landscape management within particular districts. Different definitions of public green areas and ununiform criteria for landscape management categories have an adverse effect on the functional shaping of public green areas in Zagreb. This particularly applies to large green areas at the boundaries between 2 or more greenery districts. It was, therefore, necessary to set appropriate criteria for horticultural landscape management that would be applicable to the city as a whole. In addition to the location and overall size of a green area, new lists also include all stands found in that area: lawns, trees, shrubs, roses, hedges, perennial and seasonal flower beds, etc. Green areas are divided according to their function and purpose and bear their type designation on the city map. Categories of horticultural landscape management of green areas have been defined taking into account their function, location within the city area, type, and the requirements of particular stands within green areas. Zrinjevac d.o.o., Remetineèka 15, Zagreb, HRVATSKA-CROATIA LANDSCAPE ARCHITECTURE XXXV CROATIAN SYMPOSIUM ON AGRICULTURE

11 246 HRVATSKA AGRIKULTURNA ZNANOST NA PRAGU TREÆEG TISUÆLJEÆA URBAN GARDENING Some aspects of urban gardening in Ljubljana Maja SIMONETI Gardening has become interesting for a growing number of citizens as most of them are living in house apartments in urban areas. Gardens are expanding on all kinds of locations. In the study of the city of Ljubljana we are speaking about the land use which spreads out on an area equal to the city center, and which occupies approximately people. The first goal of the study done in 1996 was to review the characteristics of urban gardening on the whole through the literature and cases. Doing this and analyzing the situation in Ljubljana an effort was made to find out the possible criteria for further development of this urban use. Spatial characteristics, environmental impacts and ways of organizing interested citizens were analyzed to find out what are the trends in spatial spread and growth. Since all the other problems were of such magnitude and importance, we deliberately postpone thorough research of the esthetics of the gardening. The spatial part of the research was carried out by comparing two sets of the aerial photographs of Ljubljana area, the first done in 1985 and the second in Further analysis was done by on site checking of the locations and making interviews with the gardeners. The found out spatial expansion showed an approximate growth of 50 hectares in ten years. Only a minor part of all the space in this use was situated on a preplanned locations. Mainly there is a problem of illegal or at least partly illegal spatial use. Not only that the longterm urban plan offered insufficient amount of acceptable locations, also the every day urban practice ignored the fact that gardening is spreading. Urban gardening is a potential threat for the environment, as no one controls and advise the use of the fertilizers and because of the uncontrolled locations. It can also become the threat for the health of the gardeners. The study clearly disproved the prejudice about marginality of urban gardening and brought out the importance of controlled land use on private as on public property as it is crucial for spatial development. LUZ, Vojkova 57, 6100 Ljubljana, SLOVENIA XXXV ZNANSTVENI SKUP HRVATSKIH AGRONOMA UREÐENJE KRAJOBRAZA

12 AGRICULTURAL SCIENCE IN CROATIA AT THE TRESHOLD OF THE THIRD MILLENIUM 247 PLANIRANJE UNUTAR ZAKONOM NEZAŠTIÈENOG KRAJOBRAZA Nenad LIPOVAC SAŽETAK Ovaj rad je nastao kao rezultat suoèavanja sa brojnim problemima za vrijeme izrade Prostornih ili Deataljnih planova ureðenja za Opæine i Gradove Hrvatskoga zagorja koji se ne nalaze na listi Zakonom zaštièenih prostora. Zasigurno, jedan od najveæih problema s kojim se susreæemo je utvrðivanje odgovarajuæe metodologije izrade Plana, a da se uspiju pomiriti dvije toliko opreæne želje: omoguæavanje gospodarskog razvoja kraja na jednoj strani i oèuvanje slike naselja sa cjelokupnim krajolikom koji ga okružuje. Mnoge dosadašnje planerske metodologije zasnivaju se na zakonskim ogranièenjima i nedoreèenostima, a preporuke za zaštitu okoliša svode se samo na nekoliko redaka u odredbama plana. Svjedoci smo da se prostor nemilice troši, bez obzira na stvarne potrebe odreðenog mjesta, a sve u cilju da se zadovolji trajna glad lokalne samouprave za gospodarskim razvojem mjesta ili opæine. Prirodna i kulturna baština i njihova zaštita i oèuvanje spominju se samo deklarativno, a to rezultira vrlo visokom cijenom u vidu gubitka tradicijskog (prirodnog i kulturnog) karaktera mjesta/prostora. Da bi svladali taj problem trebamo kvalitetan pristup planiranju i cjelokupnom procesu, a sve to u cilju oèuvanja identiteta odreðenog naselja ili okoliša (njegovu mentalnu i fizièku pojavnost). Stoga, mi planeri moramo preuzeti vrlo važno obvezu u procesu planiranja: nauèiti sebe i druge da èitaju prirodne elemente okoliša koji stvaraju identitet prostora, da ih vrednujemo, ocijenimo njihovu važnost i predložimo naèin da ih saèuvamo i oèuvamo za našu buduænost i buduænost èovjeèanstva. Moramo nauèiti razlikovati Identitet mjesta i naše poistovjeèivanje sa mjestom jer jedino tako možemo uraditi vrijedan i koristan plan za oèuvanje prostora. Poistovjeèivanje sa mjestom ima subjektivno (osobno) znaèenje, dok identitet mjesta u sebi sadrži objektivne fizièke karakteristike. Identifikacija, procjena i valorizacija te obnova prirodnih vrijednosti i briga za ekosisteme odreðenog prostora treba da postane sine qua non u svakom procesu planiranja. U ovom radu prikazana je metodologija za oèuvanje identiteta mjesta koju vrlo uspješno koriste autor i njegov autorski tim na Arhitektonskom fakultetu u Zagrebu. To se odnosi na prostore u Hrvatskom zagorju koji nisu zaštiæeni zakonskim dokumentima, a dobiveni rezultati i suglasnosti i pohvale nadležnih Ministarstava dokazuju o ispravnom putu i cilju planiranja. LANDSCAPE ARCHITECTURE XXXV CROATIAN SYMPOSIUM ON AGRICULTURE

13 248 HRVATSKA AGRIKULTURNA ZNANOST NA PRAGU TREÆEG TISUÆLJEÆA PLANNING FOR LEGALY NOT PRESERVED ENVIRONMENT This paper has arisen out of numerous problems I have had to face in my professional experience of planning for small towns and villages that are not under General Preservation Ordinances. The planning ranges from Regional plan for the whole Opæina or Town to Detail Town plan. For sure, one of the most complex problems derived from how to define the most effective methodology in the planning process and to confront two, so different, poles is: to insure the economic progress of the place itself, and still preserve the image of the entire place together with its open space setting. Many up-to-day planning methodologies rely mostly upon the legislative limits of good zoning contained in conservation and preservation ordinances only as one implementation measure to carry out the plan as a whole. The space has been used regardless of the real needs of the entire place, following strictly the demand of economic progress. Natural and cultural heritage and its preservation are mentioned just very generally and are paying the high price of traditional sense of place loss through conventional planning and development. To overcome this a good and valuable urban planning process is needed that will preserve the identity (mental and existent physical appearance) of the entire settlement or part of environment. Therefore we, the planners, have to accept the most important rule in planning: learn how to read the natural elements of the identity of the place, how to evaluate every single part of it, and how to preserve it from us for our future and the future of the rest of man-kind. We have to learn how to make a distinction between identity with and identity of place as this will help us produce a valuable sustainable plan. Identity with place has a subjective, personal meaning, while identity of place relates to its physical characteristics. Identifying, evaluating and restoring natural values and concerns about ecosystems, plants and animals or biosphere as a whole, has to become a sine qua non step in any planning process. This paper represents the methodologies for identity of place protection used succesfully by the author and his planning team at the Faculty of Architecture, University of Zagreb. Using the described methodology in planning for not legaly preserved places and surrounding environment in Hrvatsko zagorje and gained results proved that the goals we set were targeted in right direction. Katedra za urbanizam, Arhitektonski fakultet Sveuèilišta u Zagrebu Department for Town and regional Planning,Faculty of Architecture University of Zagreb Kaèiæeva 26, Zagreb, HRVATSKA-CROATIA XXXV ZNANSTVENI SKUP HRVATSKIH AGRONOMA UREÐENJE KRAJOBRAZA

14 AGRICULTURAL SCIENCE IN CROATIA AT THE TRESHOLD OF THE THIRD MILLENIUM 249 A SEARCH FOR THE CONSTITUENTS OF LANDSCAPE IDENTITY Tanja SIMONIÈ The paper is based on the significant position of landscape in the premise of the Slovenian cultural identity phenomena. In the context of contemporary socio-spatial dynamics of change and processes, preliminary study was conducted in order to investigate the dynamics of identity change with attention given to landscape identity. Preliminary studies show common recognition of landscape as an important constituent of Slovenian cultural identity. In this context the identity and fields of identification are described and formation, evolution and meaning of space related identity is considered in a brief overview. Further attention is given to different spatial constituents as part of the emerging identity phenomena. In the paper world-wide globalisation processes are presented in short and homogenisation trends that endanger present cultural identities are specified. In this respect closer attention is given to processes which in people s opinion have the highest influence on deminishing of slovenian recognition. In adittion, the attitudes towards the need for conservation of different constituents of cultural identity are explored. Landscape is proved to play an important role in the Slovene cultural identity issue. Considering the results of the study, the question of establishing constituents of landscape identity and developing the guidelines for directing the landscape change in Slovenia is put forth. Department of Landscape architecture, Biotechnical faculty, University of Ljubljana Jamnikarjeva 101, 6100 Ljubljana, SLOVENIA ALTERNATIVE PROPOSALS AND LANDSCAPE PROTECTION Aleš MLAKAR The paper presents the role of defining, comparing and evaluating alternative proposals of different developing programs as possible mechanism of landscape protection. There are so many alternatives as many different interests in space are present. It is necessary to recognize those alternatives and find out how particular interests are respected in each of them and then choose the optimal one. The paper deals with themes like why is important to define all possible and reasonable alternatives, how many alternatives there should be, what distinguish alternatives from one to another, who should propose alternatives, why and how different interests in space should be included in alternative proposals and how important is public participation, how should alternatives be established, when and how should alternatives be proposed in planning process and how to compare and evaluate alternatives. Developing and comparing alternative proposals connected to landscape protection is represented on different levels of Slovene highway project, from phase of determining highway corridors, through phase of optimizing technical solutions of road, to final arrangement of roadside landscape. Department of Landscape architecture, Biotechnical faculty, University of Ljubljana Jamnikarjeva 101, 6100 Ljubljana, SLOVENIA LANDSCAPE ARCHITECTURE XXXV CROATIAN SYMPOSIUM ON AGRICULTURE

15 250 HRVATSKA AGRIKULTURNA ZNANOST NA PRAGU TREÆEG TISUÆLJEÆA AGRARNI KRAJOBRAZI NA PRAGU 21. STOLJEÆA U TRAGANJU ZA IZGUBLJENIM KARAKTEROM Robert DUIÆ SAŽETAK Kulturni krajobrazi poprišta su intenzivnog rada èovjeka koji prirodu prilagoðuje svojim razlièitim potrebama. Oni su posljedica korišæenja zemljišta za privreðivanje i èovjekov boravak, pa je njihova povijest stara koliko i povijest sesilne kulture. Kulturni krajobrazi èesto odražavaju specifiène tehnike uravnoteženog korišæenja zemljišta, kao i specifièni duhovni odnos prema prirodi, a svjedoèeæi o ljudskoj prisutnosti i njihovom naèinu života predstavljaju važne dijelove naše kulturne baštine. Tako shvaæene kulturne krajobraze možemo poistovjetiti sa tradicionalnim agrarnim krajobrazima gdje je skladno djelovanje èovjeka i prirode oblikovalo raznolike krajobrazne strukture i uzorke, prepoznatljive i na mikroregionalnoj razini. Ali, te stoljetne, a negdje i tisuæljetne strukture kidaju se kao posljedica neusklaðenosti razvojnih procesa sa krajobraznim vrijednostima. Industrijalizacija, urbanizacija, mehanizacija i racionalizacija agrarne djelatnosti, te razlièiti integracijski procesi faktori su koji su snažno utjecali na tradicionalni agrarni krajobraz, èesto oblikujuæi jedan posve novi krajobraz, ekološki i kulturno osiromašen, te nezanimljiv kao prostor boravka i doživljavanja. Prepoznavanje (fiksiranje) karaktera krajobraza, odnosno procesa i zakonitosti koje rezultiraju odreðenom strukturom stoga se nameæe kao jedna od polaznih toèaka za planski pristup odreðenom prostoru. Razumijevanje socijalnih, gospodarskih i kulturnih uvjeta koji su utjecali na formiranje odreðenog uzorka kulturnog krajobraza pripomoæi æe išèitavanju slojevitosti prostora, te uoèavanju pojedinih prostornih konstanti relevantnih za prepoznatljivost odreðene mikroregionalne cjeline. XXXV ZNANSTVENI SKUP HRVATSKIH AGRONOMA UREÐENJE KRAJOBRAZA

16 AGRICULTURAL SCIENCE IN CROATIA AT THE TRESHOLD OF THE THIRD MILLENIUM 251 AGRARIAN LANDSCAPES AT THE BEGINNING OF THE 21 CENTURY TRACKING DOWN THE LOST CHARACTER Cultural landscapes can be viewed as scenes of intensive human activities with the scope of adjusting nature to the varied man s needs. They spring up from human exigency for profitable land exploitation as well as from human urge to provide for the needs of habitation; therefore their own history is as old as the one of the sessile culture. Cultural landscapes mostly grow out of the specific techniques, aimed at the balanced land exploitation and imply the specific mental attitude of men towards nature, and, since they are giving evidence of presence of men and their different lifestyles, they should be regarded as indicating valid integral components belonging to our collective cultural heritage. Such kind of cultural landscapes conception and interpretation makes possible their identification with the traditional agrarian landscapes, where the harmony between human and natural activities have resulted in shaping different structures and specimens of landscape, the ones that may be recognized even at the microregional level. However, those centenary and somewhere even millenarian structures are being broken as a result of incompatibility and lack of coordination between the developmental processes and progress and landscape values on the other side. Industrialization, urbanization, mechanization and rationalization of the agrarian activities, together with different integration processes are major factors which have strongly affected the traditional agrarian landscape, often resulting in shaping an entirely new landscape, ecologically and culturally impoverished and utterly uninteresting place in terms of visiting and residing. Recognition (determination) of the landscape character, with reference to the processes and patterns resulting in certain structure is therefore the concept that suggests itself as one of the starting points of primarily importance in terms of main stategic policies towards proper evaluation of a specific place. Consideration of the social, economic and cultural circumstances that brought about shaping certain pattern of the cultural landscape will be regarded as helpful information of practical significance in determining stratification of a place and, additionally, in observing certain constant spatial patterns, relevant to the identification of the given microregional entirety. Zrinjevac d.o.o. Remetineèka 15, Zagreb, HRVATSKA-CROATIA LANDSCAPE ARCHITECTURE XXXV CROATIAN SYMPOSIUM ON AGRICULTURE

17 252 HRVATSKA AGRIKULTURNA ZNANOST NA PRAGU TREÆEG TISUÆLJEÆA KULTURNI KRAJOLIK PRETPOSTAVKE ZA ZAŠTITU I METODE NJEZINE PROVEDBE Zofia MAVAR SAŽETAK S oèiglednim porastom ugroženosti, pod utjecajem intenzivne urbanizacije, potreba zaštite kulturnoga krajolika sve je èešæe predmet meðunarodnih konferencija, no njihove preporuke teško nalaze primjenu u našoj praksi. Razlog tomu, meðu ostalim, valja potražiti u ustaljenom, naèinu prostornoga planiranja koje je, dakako pogrešno, u cijelosti podreðeno razvojnim ciljevima, pri èemu se naš širi okoliš ne prepoznaje kao integralna cjelina sastavljena od više tipova krajolika, a svaki s iznimno složenom problematikom; najèešæe se ignorira kulturni krajolik povijesnih naselja (osobito sela), zaštita se svodi na pojedinaène elemente, a èinjenica da je prostor trodimenzionalan potpuno se zanemaruje èime se negira i tradicija povijesne urbane kompozicije. Složenost problema zaštite kulturnog krajolika u procesu prostornoga planiranja zahtijeva primjenu razlièitih metoda istraživanja i specifiène studijske i projektne radove. To je osobito važno u novom pristupu prostornom planiranju koji pod geslom zaštita i ureðenje prostora treba polaziti od zaštite vrijednosti prostora kao integralne cjeline. Pokušaj spašavanja individualnih vrijednosti povijesnoga krajolika u makro- i mikrodimenziji prikazan je na primjerima iz konzervatorske prakse, a primijenjena studijska metoda prostornoplanskih mjera zaštite prilog je unapreðenju kako konzervatorskog tako i planerskog pristupa k zajednièkom cilju oèuvanja krajolika i njegova primjerenog oblikovanja. Iskustvo nas uèi da su pritom nužna iscrpna interdisciplinarna istraživanja, koja, tek pretoèena u jedinstven stav, mogu uputiti na pravilna rješenja. To podrazumijeva temeljitu evidenciju svih prirodnih i kulturnopovijesnih vrijednosti prostora u granicama obuhvata plana, njihovu odgovarajuæu analizu i valorizaciju prema razlièitim struènim kriterijima, a zatim uspostavu hijerarhije postojeæih vrijednosti primjerene razini planiranja. Jedino se na taj naèin može sprijeèiti planirani gubitak individualnih karakteristika pojedinih prostora, nositelja osebujnog ambijentalnog, regionalnog pa i nacionalnog identiteta. XXXV ZNANSTVENI SKUP HRVATSKIH AGRONOMA UREÐENJE KRAJOBRAZA

18 AGRICULTURAL SCIENCE IN CROATIA AT THE TRESHOLD OF THE THIRD MILLENIUM 253 CULTURAL LANDSCAPE PROTECTION PREREQUISITES AND IMPLEMENTATION METHODS Under a growing pressure resulting from a most intense urbanization, the need for protecting cultural landscapes has become an increasingly frequent topic of international workshops, however, we often find their recommendations difficult to apply under our specific circumstances. The reason for this is, among other things, a rather routine manner of development planning, which is, quite wrongly, entirely in the function of developmental objectives, not taking into account wider surroundings as integral entities, composed usually of several landscape types, each one of them entailing extremely complex issues. Cultural landscapes of historical settlements (particularly in rural areas) are most frequently being ignored, with protection reserved for individual elements, while the fact that the space is three-dimensional is completely neglected, thus denying also the historical urban composition tradition. The complexity of the issue of protecting cultural landscapes in development planning process requires the application of various exploration methods, as well as specific studies and project designs. This is particularly important in the new approach to development planning that, under the motto of Spatial Protection and Development, should take protection of the value of space as an integral entity for its starting point. The attempt at salvaging individual values of cultural landscape in both macro- and micro terms is shown on examples from conservation practice, while the method of development planning protection measures applied should advance both conservation and development planning approach to the common goal of protecting landscape and providing it with an appropriate form. Experience teaches us that exhaustive multidisciplinary research is necessary here, since only its results, after being integrated into a uniform attitude, may point to suitable solutions. This requires detailed records of all natural and cultural-historical values of a part of the space encompassed by a given plan; their appropriate analysis and evaluation according to various expert criteria, as well as the consequent establishment of a hierarchy of the existing values corresponding to the planning level in question. It is the only way of preventing planned loss of the given areas individual properties, as bearers of very particular local, regional, and even national identity. Ministarstvo kulture, Uprava za zaštitu kulturne baštine Ministry of Culture, Agency for the Protection of Cultural Heritage Ilica 44, Zagreb, HRVATSKA-CROATIA LANDSCAPE ARCHITECTURE XXXV CROATIAN SYMPOSIUM ON AGRICULTURE