Catholic Church of the Sacred Heart of Jesus Podgorica Experience of Sacral and Brutalist Architecture 1



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Editor’s word

On the occasion of the 50th anniversary were given a simple, unusual shape made structure of the church itself is to of the Catholic Church of the Sacred Heart using concrete, which is why they have believers who visit it. It is, indeed, one of Jesus, it is my great pleasure to present remained impressive to this day.

of the most significant sacral objects in the contents of the publication.

Montenegro.

In 2018, the Catholic Church of the Holy The church was built in 1969 in former Heart of Jesus was recognized as one of I would like to thank everyone who

Yugoslavia and it represents one of the the most important works of architecture contributed to the issuance of this

most important buildings designed

in former Yugoslavia, so its photographs publication. Special thanks to the architect and built in brutalism. It is the work of were exhibited at New York’s most

Zrinka Barišić Marenić, Ph.D, from the Croatian architects Zvonimir Vrkljan and famous Museum of Modern Art - The

Faculty of Architecture of the University Boris Krstulović.

Museum of Modern Art, MoMA.

of Zagreb on her great contribution and excellently written work on the church, Brutalism derived its name from the

In the same year, the photographs, as well which she published in the Scientific French word “concrete brute“, which

as some drawings of the church, appeared Journal of Architecture and Urban means “rough“ concrete, a term used

at Days of Oris in Zagreb. Days of Oris is Planning “Space“ in 2015, which is an by French architect Le Corbusier to

an international architectural symposium integral part of this publication.

describe cast concrete with visible

organized by Oris magazine and Oris

traces of formwork used on most of his House of Architecture.

buildings. His basic idea of designing, using and building was characterized by The common goal of the authors of

the functionality of the structure and, the publication was to concentrate

most of all, he expressed strong lines on its architectural and construction Respectfully,

and facades without ornamental design, achievements, its natural and artificial m. sc. c. e.. Marija V. Ivezić

i.e. decorative details. Hence, the objects illumination, and how important the

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The Spiritual Experience of Sacral and Brutalist Architecture don Viktor Ganc

The Church of the Sacred Heart of Jesus of Salesians who takes care of the parish the skylight and gives us the sense of is one of the first and most beautiful and Don Bosco Centre in Podgorica. The mysticism, peace, hope and prayer that we examples of sacral brutalist architecture in small wooden door upon entry into the have daily before God.

the Balkans, and it also helps us to enter church tells us the very symbolism of the Standing in front of the altar, we finally into the mystery of faith with specific Gospel: “Enter through the narrow door!

absorb all of its inside beauties. The spiritual experience. It is the first church For wide is the door and broad is the road Stations of the Way of the Cross on the in the Balkans which, both architecturally that leads to destruction, and there are sides of the benches St. Anthony and St.

and liturgically, was designed and later many who go through it.” (Mt 7.13).

built after the Second Vatican Council Nicholas at the front door of the church As we enter the church, we slowly discover (1962-1965). For a spiritual experience are illuminated.

its beauty. The low and long concrete slab of it, all credit goes to the whole team (gallery) does not allow us to immediately Its shape is both externally and internally of architects and liturgists who worked discover the size and height of the church designed as a ship. The shape of the ship together to project the architectural room itself. We discover them gradually, reminds us of the Old Testament story of design of the church.

because life is certainly a secret to be Noah Arc, and in the New Testament the The main approach to the church is a discovered slowly, concisely, with a lot of ship is a symbol of the Church which, with wide and long staircase, which represents faith in ourselves. The centre, as every a good captain behind the helm on the the first contact with the church. Prior to centre, reveals the most. Reaching the deck, sails to the eternal port of peace. The the staircase and entrance to the church, central part of the church, we discover interior is designed in a way that everyone there are two large plateaus that allow the the altar, the ambo, and then the very can concentrate on those essential things Holy Mass, or any other event (a gathering statue of the Sacred Heart of Jesus, to during the Holy Mass. It must not be of young people, a gathering of children, which the church is dedicated. The cross overlooked that the altar, the ambo, the an exhibition, etc.), to be held outdoors.

behind the altar with its size and daylight Tabernacle, the Baptistery are made of Before entering the church, there is a only indicates that we must look up.

white marble that blended in with the sculpture of “St. John Bosco”, the founder Light coming from above penetrates

ship itself and its navigation.

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The altar is placed in the middle of the importance to believers. The tabernacle presbytery. The priest leading the Holy holds the consecrated bread (the bread Mass has a central position and ability to that is transformed into the body of Jesus see all believers who also have a sense of at the Holy Mass) which serves for the belonging around the table of Jesus, just as communion of believers. The tabernacle the apostles at the Last Supper described is of gilded cylindrical shape, set up on a in the Bible. On the front of the altar is the white marble pedestal. It opens on two inscription “SI DEVS EST PRO NOBIS QVI sides, the front (toward believers) and the EST CONTRA NOS”, translated as “IF GOD IS

back. The front is used for the purposes WITH US, WHO CAN BE AGAINST US?”

of the Eucharist, and the ciborium with The ambo, as a symbol of the place of sacramental breads is kept on the back.

reading and interpreting the Word of God, The inscription in Latin is engraved on is even closer to the believers who attend the marble stand: “CORPVS MEVM”, which the Holy Mass. A place for preaching means: “MY BODY”.

(pulpit) of the old churches was high A place for baptistery was also designed so that all the believers could hear the in the church, located at the currently preaching of a priest. The Catholic Church positioned choir, on the side of the of Sacred Heart of Jesus has an excellent presbytery, on the way to the sacristy.

acoustics project, so the priest’s position The churches used to have a baptistery in it is in a great place, which gives the in front. Their position at the time had opportunity for excellent interaction with the symbol of becoming a member of the believers. The ambo has a large Pax sign, church community through the baptistery with the addition of the Greek letters and the cross.

α Ω meaning: “Jesus Christ is the

The baptistery in the Church of the

beginning and the end (of the world)”.

Sacred Heart of Jesus was designed in On the other side of the altar, there is a the church itself, which always reminds tabernacle, or the place where something us of our baptism and brings us back to sacred is stored, which is also of great the beginning of our faith. Also, the upper 6





part of the baptistery is made of gilded material, placed on a stand made

of white marble, bearing the Latin

inscription EGO TE BAPTIZO IN NOMINE

PATRIS ET FILII ET SPIRITUS SANCTI and, on the other side, in croatian language:

“... I BAPTISE YOU IN THE NAME OF THE

FATHER AND OF THE SON AND OF THE

HOLY SPIRIT”.

A few years ago, confessionals in the church, located on the sides of the

church, just after entering it, were renovated. They are not part of the

church’s original project, but their appearance and functionality fit in it.

With the original church project, the choir was to be placed on a gallery. The choir is now located near the baptistery and thus has a great role to play, as it has contact with both the altar and the faithful.

The Church of the Sacred Heart of Jesus is a very successful architectural project in terms of symbolics, sacral space and practical solutions, which make it possible for us all to feel comfortable.

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The authors of the project of the Catholic Parish Church Zvonimir Vrkljan (26.07.1902-08.02.1999) scientific and educational institutionin was a Croatian architect and author of the Croatia. He also implemented in Zagreb project of the Catholic Parish Church in a number of residential buildings

Podgorica (1963-1969). He graduated in of emphasized functionality and

architecture in 1924 from the Technical comprehensive expressiveness: Vlaška 76

High School in Zagreb. He worked at

(1930), Novakova 7 (1933-34), Pod zidom the Ignjat Fisher’s Architectural Bureau 5 (1937-39) and Kvaternikov trg 12 (1939-from 1926, and he was a full professor 40), as well as Bauerova 21 ( 1940–42).

at the Faculty of Architecture in Zagreb He restored the Benedictine monastery (Department of Structural Engineering) in Zadar (1961–70) and adapted the

after retiring in 1972.

Golubovec castles near Donja Stubica He specially designed buildings for

(1978–88) and Januševec near Zaprešić education: the Academy of Commerce

(1985–88).

on Petar Krešimir IV Square (1931-35; He wrote articles on the history of the today the Ministry of Defence), the

Faculty of Architecture and its professors Women’s High School of the Sisters of (From the History of Zagreb Technique) Mercy on the Sava Road (1937-40; today and compiled them in the book Memories the Faculty of Teacher Education and (1995); he was the author of the textbooks the XI Gymnasium), and the complex of Building StructuresI and II. He received buildings of the Veterinary Faculty in the “Vladimir Nazor“ Award for Lifetime Heinzelova Street in Zagreb (1936-62), Achievement (1977).

thus achieving a paradigm of modern

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Boris Krstulović (09.02.1932-28.11.2014) Zagreb, Crikvenica (1965) and Varaždin was a Croatian architect and author of (1982):

the project of the Catholic Parish Church

• Residential complex in Zelengaj (1971) in Podgorica (1963-1969). He graduated from the Architectural Department of

• Residential buildings in Sveti Duh (1991) the Technical Faculty in 1956. In 1962

• Living space in Dežmanov Prolaz (2003).

he became an assistant at the Civil

Plastic treatment of volume is especially Engineering Institute (under Professor emphasized in the construction of

Z. Vrkljan) at the Faculty of Architecture, commercial and public buildings:

Civil Engineering and Geodesy. After independence of the Faculty of Civil

• Administrative and Propulsion Complex Engineering in Zagreb in 1963, he worked of Elektroslavonija in Osijek (1967-71) there as an assistant to Professor R. Nikšić, • Elektra office building in Varaždin and from 1972 as an assistant professor.

(1974-77)

From 1977 to 1991, he worked at the

Construction Institute in Zagreb.

• Varaždin Business and Propulsion

Complex (1978-88).

Using modern materials and innovative and dynamic structural elements,

He was the winner of the “Vladimir

he accomplished many functionally

Nazor“ Award for Lifetime Achievement in harmonized residential buildings in

Architecture and Urban Planning (2009).

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Catholic Parish Church in Podgorica (1963-1969, ZVONIMIR VRKLJAN AND BORIS KRSTULOVIĆ)1

ph. d. Zrinka Barišić Marenić

The most significant contribution and the in the surroundings because, in my

of earthly brilliance”, architect Boris biggest surprise within the theme of this opinion, a believer goes to church

Krstulović would state.5 The spatially-work is certainly the realization of the primarily to ‘escape’ from reality that functional organization develops linearly Catholic Church in Podgorica by Professor surrounds him or her. That means he or in floor plan along a longitudinal axis Zvonimir Vrkljan2 and his assistant Boris she needs to come across a very unusual north-south, with progressive gradation Krstulović.3 Conditionality of the church interior space”, are the words of architect from both end approaches6 to the

construction is influenced by the little Boris Krstulović.4 A logical choice of culmination of the sanctuary, as

known fact that the Albanian population material is reinforced concrete, which evidenced in the vertical composition of of the northern outskirts of Podgorica is allows the formation of a monolithic the frame. The space of the access square, predominantly Catholic. “The location of reinforced concrete shell with a visible longitudinal sacral space with a crystalline the church is on the eastern outskirts of lost formwork in the exterior. This was form above the altar, a reinforced concrete town towards Ćemovsko polje and the

before the oil crisis, when the physics of truncated bevelled pyramid with an

hills, where highlanders of Albanian the building did not impose necessary oculus through which zenital illumination nationality can be encountered. When outer layers for better thermal insulation emphasizes the altar and the cross on the designing the building, I came to the point of the building. The expressiveness of rough reinforced concrete wall behind the of view (Professor Vrkljan agreed with rough reinforced concrete form

sanctuary appear linearly inside the this) that today our relationship with the dominates the exterior of this

elongated rectangular dimension.

church is a private matter of an individual. extraordinary creation, creating a ‘house-Compositionally, it is a counterpoint to the External attractive captivation is therefore sign’, a highly charged symbolic meaning slope of the main elongated prismatic unfounded. It was necessary to create a in an area where the Roman Catholic

corpus, which surrounds the space of the specific space that would be quite

population is minority. “With its aversion, atrium and the parish and educational different from all the spaces used in it associates with the first inferior premises behind the sanctuary. At the everyday life. It means a ‘broken space’

Christian objects (secret, as well as the time of its construction, it was the first that has no relation to anything existing public ones) as an expression of negation church in the Balkans the interior of 13



which was designed in accordance with everything in the same plane, you imitate the liturgical guidelines of the Vatican a pure, abstract form”, says architect Boris Council reform. Furthermore, there is a Krstulović in his interview.8 This

large sports hall on the lowest floor, a monolithically constructed building, by zenithally illuminated entrance to the selecting one material, is referenced by parish premises with a library and several drywall stone structures of traditional classrooms where the Parish offers

architecture in the Adriatic coastal area, education on afternoons and weekends with stone slabs in the cover. The fine-on a volunteer basis.7 The vertical of the grained horizontal structure of coarse, bell tower tangents the access space of plank, lost formwork is also a reference the square and, with its sloping truncated point of this traditional weft with its pyramidal structure, dominates the

monolithicity. The accentuated horizontal silhouette of that part of the city. By strokes of the vibrating series of timber generating social and sports content, a formwork9 counterpoint the bevelled

specific ‘plus programme’ has been

volumes and balance the overall

formed which, with its current position -

composition. On the other hand, the

a recently completed mini-ring road, referentiality in international trends is transforms the achievement of Zvonimir read in brutalism which, in this

Vrkljan and Boris Krstulović into a

performance, received the most

significant landmark of the eastern part of representative showpiece in the Croatian Podgorica. In my opinion, human ratio modern architecture.10 At the same time accepts the whole environment in an

this piece of work was realized, prof.

abstract way and reproduces it

Zvonimir Vrkljan and his second assistant, schematically. It is no wonder that

Valdemar Balley, accomplished a one-

pyramids appeared as symbols five

room hall in rough concrete-brute

thousand years ago. And today, I think, we construction in Zvonimirova Street. The try to primarily discipline the form into fact that all the aforementioned architects stereometric shapes. “If you put

work at the Department and the Institute 14



for Building Structures, surpassing the present Department of Architectonic

Structures and Civil Engineering at the University of Zagreb, explains the

boldness of such large-scale spatial solutions as well as the sovereign

handling of reinforced concrete

structures. In the context of these

achievements, the Catholic Church in Montenegro reached some sort of

peak. Architect Boris Krstulović would, in his next independent realizations of industrial and administrative circuits of Elektroslavonia in Osijek (industrial complex 1967-1971 and computer-dispatching centre, 1973-1978)11 and Slavonski Brod (administrative-office building, 1972), continue the opus of excellent achievements characterized by large-scale prismatic buildings in raw concrete construction.12

Constructive possibilities of the

applied material are most visible on the outskirts of Osijek, in Zeleno Polje.

The poetic image of the outskirts of the Slavonian city was characterized by the plain of cereal fields where, in the contact zone of urban and agrarian 15



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area, a rough contrasting, floating was being built in Zagreb, that is, upgrade a few realizations mentioned above in the structure, a cantileverly pointed raw and superstructure of the crypt of the Socialist Republic of Croatia, the Catholic concrete, derived corpus of the computer-Franciscan Basilica of Our Lady of Lourdes Church in Podgorica represents an dispatching centre of Elektroslavonia in Zvonimir Street (1934-1935) following extraordinary sacral achievement of

dominated. Symbolic meaning is

the project of prof. Vrkljan and his Croatian modern architecture. It has been multifaceted. Focusing again on the

assistant Balley, 1965-197113, and the unjustifiably forgotten in the Croatian Catholic Church in Podgorica, it is the best church of St. Cross in Sziget by Emil Seršić professional and scientific literature.

realization of sacral architecture of that and Matija Salaj, 1971-1982. The same However, by the choice of the editor, that time achieved by Croatian architects authors realized the Franciscan high is, curators Adolf Stiller and Bojan during the socialist period of 1945-1990. It school in Samobor from 1967 to 1968.14

Kovačević, the work of prof. Zvonimir is extremely unusual for this typology to With several sacral works by architect Vrkljan (and mistakenly omitted co-culminate in the work of Croatian

Zvonimir Vrkljan, architect Sena Sekulić author Boris Krstulović)16 was included in architects outside Croatia. And perhaps Gvozdanović accomplished the restoration the presentation of Montenegrin this fact, as well as the location on the of the parish church in Voćin in 1971. In architecture at an exhibition in Vienna in outskirts of the capital of Montenegro, Split, architect Frane Gotovac performed a 2013: Montenegro: Contrast Land-schaft, allowed the creators complete freedom: a significant modernist realization of the Architecture Kontext/Contrast Land-dynamic composition of geometric bodies Parish Church and the monasteries of St.

scape, Architecture Context, and thus (prisms laid in a slope and bevelled Joseph on Sukošan (1967-1971), and then presented to Montenegrin and Austrian truncated pyramids, which reinterpret the the Chapel of St. Cross in the cemetary in professional public for the first time.17

height accent of the traditional dome and Omiš (1971). St. Peter’s Concathedral in Design and selection of the material enable zenithal illumination) and

Split was realized 1979-1983. Architect Ivan create a comfortable atmosphere, based materialization with reinforced concrete Prtenjak realized a dimensionally modest on post-Corbusier discourse in sacral with a monolithic structure articulated by but spatially complex achievement of the architecture after (church in, author’s a bareraw concrete structure. Let us not Parish Centre in Boninovo in Dubrovnik, comment) Ronchamps; there is a strong, forget that during the period of socialism on the location between three churches mystical atmosphere, especially in the sacral architecture almost completely from 1977 to 1980.15, and professor Boris interior, like the one inside the cave, which disappeared from professional production Magaš realized the church of St. Nikola is enhanced by natural (zenithal, author’s in Croatia. The never completed church Tavelić in 1986 in Rijeka. In the context of comment) illumination.18 Extraordinary 17

sacral achievement, which is mostly used Zagreb from 1928 to 1972. His work includes 1958. He was an assistant at the Department of today by the Croats and Albanians of professional oeuvre, pedagogical work, Structural Engineering (Prof. Z. Vrkljan) at the Catholic religion, is unjustifiably forgotten research work in the field of the development Faculty of Architecture and Civil Engineering and because it is still actual today, with of building constructions and standardization, Geodesy from 1962. He was an assistant at the and a publicistic oeuvre to accompany the Faculty of Civil Engineering in Zagreb as of 1963

reference to contemporary aspirations.

development of the profession, faculty and (Prof. R. Nikšić), and from 1972 he was Assistant Influences of this work can also be read in contemporaries. He published several issues Professor. From 1977 to 1991 he worked at the Montenegrin architecture, in the already of university scripts and textbooks 1946-1986.

Institute of Civil Engineering in Zagreb. He mentioned work of the Memorial House He was laureate for the Lifetime Achievement received his PhD in 1987 (“The Specific Principle in Kolašin in Montenegro, by architect Award “Viktor Kovačić” (1969) and “Vladimir of Constructing Flexible Architectural Spaces”), Marko Mušić (1976), in raw concrete

Nazor” (1977). He has been a member of JAZU

in 1988 he was elected to the position of full construction, dynamic composition and since 1988. The most significant works: 1931-professor. He was habilitated in 1972 at the 1938 State High Schools Assembly, Zagreb Elektroslavonija unit in Osijek. He was laureate plasticity of forms, as well as zenithal (performance, today Ministry of Defense of of the Republican Awards “Borba” (1972 and interior lighting.

the Republic of Croatia); 1934-1938 District 1978), the annual “Vladimir Nazor” Award (1972), Employee Insurance Office (OUZOR), Osijek (+

the annual “Viktor Kovačić” Award (1979), the B. Auer, performance, today Health Centre);

“Zagreb Salon” Award (1979) and the “Vladimir 1937-1939 Women’s Real Grammar School of Nazor” Lifetime Achievement Award (2000).

The most significant works: 1959, Residential the Sisters of Mercy, Zagreb (performance of building, Zagreb (performance); 1960.

stage one); 1937-1942, 1946-1952 Main Assembly Residential building, Zagreb (performance); of Veterinary Faculty, Zagreb (performance, 1963-1969 Catholic Parish Church in Podgorica, accompanying pavilions 1957-1962; Institute and 1 The project was realized at the Department Montenegro (with: Z. Vrkljan, performance); Clinics for Obstetrics and Surgery + N. Kuèan); of Structural Engineering at the Faculty of 1967-1978 Elektroslavonija, industrial assembly 1940-1942 Residential building, Bauer Street, Architecture in Zagreb, headed by prof. Zvonimir and computer-control centre, Zeleno Polje, Zagreb (performance); 1963-1969 Catholic Parish Vrkljan. Today: Roman Catholic Church of the Osijek (performance); 1972 Administrative Church.

Sacred Heart of Jesus.

and business building of Elektroslavonija, 3 Dr.sc. Boris Krstulović (1932, Split - 2014, Zagreb).

Slavonski Brod (performance); 1972 Interior of 2 Zvonimir Vrkljan (1902, Vukovar - 1999, Zagreb).

He graduated from the Faculty of Engineering the old part of the Hotel Argentina, Dubrovnik He graduated from the Technical College in in Zagreb in 1956. Until 1957, he worked at (performance); 1974-1975 Elektra Office Building, Zagreb (1924). He worked in the studio of I.

the Architectural Design Bureau “Žerjavić in Varaždin; 1984-1997, Residential building, Zagreb Fischer 1926-1930. He was a professor at the Zagreb”, and was an associate at the Institute for (performance). Krstulović, 1984; http://www.

Faculty of Architecture at the University of Architectural Compositions (Prof. A. Albini) from

arhitekti-hka.hr/

18

4 Krstulović, 1984: 380

the accomplishments of Boris Krstulović, the a forerunner to Magashev’s last realization of 5 Krstulović, 1984: 380

Elektroslavonija assemblies in Osijek and the Dominican church at Ivanićgrad/Vukovar Slavonski Brod were marked by the stripped in Zagreb, achieved by third-order panels. A 6 North main entrance, across the hall for the concrete structure of the City Library in Karlovac completely inverse situation in the field of sacral believers and secondary south entrance of the (first stage, 1971-1976, Mladen Vodicka), Bread construction will prevail after the establishment parish courtyard structured around the atrium.

and Cake Bakery in Makarska (1972, Milan of an independent Croatia in 1990, when the 7 Stiller, Kovačević, 2013: 126-127

Šosterić), Hotels Crystal and Zagreb in Poreč number of realizations in just a few years will (1970, Juliet De Luca), etc.

surpass the entire previous period. The quantity 8 Krstulović (interview conducted by: Bešlić, of the achievements, unfortunately, resulted in Galović, Mucko, Penezić, Rogina, 1999), http://

11 1967-1978, Boris Krstulović, Elektroslavonija, an inversion in the quality of these realizations, www.d-a-z.hr/hr/aktual-na-tema/osvrti/

Industrial Assembly and Computer Dispatch of course - with honorable exceptions interview-boris-krstulovic,55.html

Centre, Osijek.

17 Stiller, Kovačević, 2013: 126-127. The exhibition 9 The analogous structure of horizontally 12 Positioning of social contents by the entrance, was held in Vienna 19.09 – 15.11. 2013.

accentuated strokes of the plank formwork was zenithal illumination of the production-18 “Formensprache und Materialwahl lassen and also performed at the never completed Church warehouse part and stereotomy of reinforced angenehmer Weise den Post-Corbusier’ schen of Our Lady of Lourdes in Zvonimir Street, the concrete monolithic structure of the corpus of Discourse im Kirchhenbau nach Ronchamps realization of Zvonimir Vrkljan and Valdemar the large-scale computer-dispatching centre durchscheinen; besonders im Innenraum wird Balley in 1965-1971.

are experiences that architect Boris Krstulović certainly draws from the realization of the eine starke, höhlenartigmystische Stimmung 10 They were preceded by the construction of Catholic Church in Podgorica.

spürbar, die durch den Lichteinfall verstärkt the Dinamo stadium in Zagreb (1946-1954, wird”. [Stiller, Kovačević, 2013: 126-127, author’s 1962, Vladimir Turina, Franjo Neidhardt, Dragan 13 In the central part of the arch of Zvonimir Street, note].

Boltar, Eugen Erlih). In the context of concrete Slovene architect Jože Plečnik designed the brut architecture, the forgotten achievements Franciscan Basilica of Our Lady of Lourdes 1934-of the Market in Slavonski Brod (Vladimir 1935, but only the crypt was realized. In 1965-Turina) and the upgrading of the Church of Our 1971 the entrance annex and the new corpus of Lady of Lourdes in Zagreb (1965-1971, Zvonimir the church, one-room hall in concrete-brute, Vrkljan, Valdemar Balley), the Trešnjevka were performed.

Electronic Computer Centre in Zagreb (1969, 14 Šegvić, 1986: 194

Vjenceslav Richter, Kruno Cimprešak, Maja Šah-Radović) and the Health Centre in Labin 15 Šegvić, 1986: 252

(1963-1969, Mladen Vodicka, a competition 16 The latter sacral realization is a step forward in project with Boris Magaš). In the 1970s, with terms of authorial deliberation and is certainly 19



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The “broken” warm concrete space msc. civil engineer Marija Ivezić

Catholic Church of the Sacred Heart of Therefore, a title of the first representative With the project task, it was necessary Jesus (1967-1969), built in the period of of brutalism in Montenegro, then Titograd, to design the Catholic Parish Church for former Yugoslavia, is a representative of present-day Podgorica, can freely be approximately 800 believers, a special an architectural style in Montenegro called “handed over” to the project of the place for the choir to receive the organ.

brutalism.

Church of the Sacred Heart of Jesus. If Along with it, a sacristy, a parish office, The presence and application of brutalism we look back at the very construction classrooms for religious education,

in former SFRY primarily appeared for of the church, which was made using

apartments for priests, etc., were to be economic reasons. In those years, when the principle of concrete, we will notice provided. The lobby and ground floor the church was designed and built, a that the architects at that time wanted of the church and the parish flat are large number of facilities had to be built to make an object that would be eternal, elevated by several steps, so that the and, at the same time, their construction characteristic, mysterious. Today, 50 years building gets urbanistically dominant had to be complied with efficiency and later, many people understand and accept position and, at the same time, it enables cheapness. For these reasons, many

it exactly as it was projected then in 1967-good ventilation of the crypt and

engineers agreed that all these conditions 1969.

basement below the parish flat. The bell were best met by concrete, i.e. reinforced tower stands separately giving a special concrete. Reinforced concrete was used The location of the plot for the

impression to the whole building by its in 95% of cases. Engineers of that time construction of the church was

height. The church and the parish flat believed that concrete was eternal; only determined by then Urban Planning

were conceived as a single concrete and later it would be shown that it had its own Institute of the Municipal Assembly of reinforced concrete structure which, after period of validity. With the use of concrete, Titograd, which was located on the green the formwork has been removed, remains not much thought was given to thermal belt that is fenced by the Adriatic Highway unplastered and untreated. Roof panels conditions, while concrete was also the on one side and by a street connected to are reinforced concrete panels plated by supporting element of the construction the residential settlement Konik on the insulating material that prevents water and facade view of the building.

other.

from penetrating. Throughout the whole 21



“broken” space the reinforced concrete imprinted formwork.

structure was consequently installed This style of construction and the use of so that all roof panels were made of concrete was generally not satisfactory to reinforced concrete.

the environment and is considered to be By reflecting on geometry of the church, grey, rough, inhumane, cold construction the architects designed it in the form of an style. However, over time, buildings such elongated rectangle, with a combination as the Church of the Sacred Heart of Jesus of geometric bodies of the prism laid in can be viewed in a completely different the slope of bevelled truncated pyramid.

way – as exciting, direct, brave, warm and, Zvonimir Vrkljan, author of the church above all, valuable for architecture and project, is known for his projects being construction of Montenegro.

characterized by clear functional bases Time leaves a mark on such structures, and strict constructive discipline of built which were made in the style of brutalist elements.

architecture, so it is necessary to do Harmonic volume and measured

professional protection of the building formation harmoniously reflect the

with adequate materials, which was

functional-constructive context with done a few years ago, when facade of the constant presence of the principle of church was protected and covered with creating a non-random architecture.

the concrete protective layer.

Reinforced concrete walls of the church Taking into account the way of

were poured by formwork 12-14cm wide construction at the time, the use of one and 1.70m high. Roof panels are poured characteristic material in the construction (concreted) in longitudinal and transverse and, at the same time, years of their directions at an angle of 13°

maintenance with small investments,

As brutalism in architecture is known the buildings built in brutalism manage as bare concrete, the church has its final to retain uniqueness and recognition in processing (interior and exterior) of architecture and construction.

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Illumination of the Catholic Parish Church bsc. ing. of polytechics Bojana Sekulović The brightest minds of mankind observed Entering the main door of the church, giving it a divine and mystical note.

a long time ago that the divine and

until some point, we are deprived of the From the psychological point of view, mystical nature of light is best felt and natural light coming through the slanted the Sun shines on us from above, which perceived in sacral buildings.

part of the pyramid. As we approach

is why this kind of light entry is more One such is the Catholic Church of the the central part of the church where the natural and acceptable to us.

Sacred Heart of Jesus. It’s a typical but also altar and the ambo are located, the light This kind of lighting makes the space unique example of a brutalist building. In becomes more intense. Symbolically, this exude a spiritual, mystical and sublime the sea of today’s modern exhibits, glass represents a path of enlightenment and atmosphere.

cubes, huge marble, the aforementioned sublimity, which takes time and firm faith.

church manages to stand out with its In the church dedicated to the Sacred In contrast to natural light, the role of shape and line.

Heart of Jesus, the zenith system of the artificial light in the aforementioned church is largely focused on the

Its uniqueness is largely a result of the illumination is represented. It is one of illumination of the exhibits. Following presence of natural light. With the main the principles of illumination of interior functional role of light, the sun’s rays are space. It is introduced by the use of the latest technologies in the world of also a kind of natural decoration here.

glass openings on the surface of the lighting, lamps found in the church are The play of light on a cold concrete wall object through which beams of light go LED light sources. With their application, creates a unique visual effect. In a subtle down. It is important to note that zenith a longer lifetime of the lamps, as well as way, light further draws attention to the illumination is at least twice as intense energy savings, has been achieved.

already impressive raw and unworked

as that which enters laterally through The paintings of the stations of the concrete emphasizing its firmness and, the same glass surface through vertical Way of the Cross on the walls of the on the other hand, the beauty of the windows. The light coming from above church are illuminated by the lamps

simplicity of brutalism.

diffuses more evenly across the space, which are placed above the paintings 25



and directed toward them. In this way, with the wooden structure of the cross.

attention is drawn to works of art that are On the other hand, it visually contrasts chronologically set to represent the life with the cold concrete wall on which story of Jesus Christ, interwoven with pain illumination is reflected. By applying this and suffering.

LED strip, we are able to draw attention to Two statues located on the front door of the difference between the two materials, the church are illuminated in a similar but also to the ability to connect them, by way, namely St. Antony and St. Nicholas.

selecting the appropriate characteristics In addition, the following statues are on of the light source.

the wall behind the altar: Don Bosco, In addition to the lamps directed towards the Virgin Mary, and the Sacred Heart of the exhibits, there are spotlights at Jesus, to which the church is dedicated.

the top of the oblique pyramid. In the We illuminate them with the help of

evening, they replace the natural zenith directional reflectors located below light and take over the role of functional the statues, thus additionally drawing illumination of the church.

attention to them. Symbolically speaking, the statues are illuminated by the Divine light.

There is a cross on the same wall, quite large in size and very impressive. It is illuminated by a LED strip, colour temperature 2700K. It is a warm white colour, which in reality gives yellow light.

Considering the fact that wood is one of the natural warm materials, the LED stip, with its colour temperature, fits perfectly 26





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Biographies of the co-authors of the publication Ph. D. Zrinka Barišić Marenić

Msc. Civil Engineer Marija V. Ivezić Architect, Associate Professor and Scientific She graduated in 2014 from the Faculty of Advisor at the Faculty of Architecture of the Polytechnics, University of Donja Gorica (B.

University of Zagreb. She has been engaged Sc.Engineer of Polytechnics), and then, at in the study of modern and contemporary the same faculty, enrolled in postgraduate Croatian architecture and industrial studies in the field of Civil Engineering archeology, and has published about a and Modern Technologies, where she

hundred papers in the field. She received received her master’s degree in 2017 on her master’s degree in 2002 (Zvonimir

“Project management: Connection Between Vrkljan) and her doctorate degree in 2007

Design and Construction of Facilities in BIM

(Zoja Dumengjić). She is the recipient of Environment”, under Prof. Zoran Cekić.

the 2010 National Science Award for the After completing her basic studies, she Lexicon of Architects of the Atlas of Croatian began her career as a civil engineer on one Architecture of the XX century (with of the most significant investment projects Uchytil-Kahrović). She is the author-curator in Montenegro, the construction of the of the Croatian performance at the 14th Porto Montenegro complex, where she still Venice Biennale in 2014, with the theme works today.

Fitting Abstraction, 1914-2014 (selected by K. Sherman). She works on affirmation Since 2017, she has been hired as a teaching of international cooperation of the home assistant at the postgraduate studies of the faculty.

Faculty of Polytechnics, University of Donja Gorica.

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Bsc. ing. of Polytechics Bojana Sekulović Don Viktor Ganc

She graduated in 2014 from the Faculty He graduated from high school

of Polytechnics, University of Donja Gorica (Gymnasium) in Ljubljana (Slovenia).

(UDG), and then enrolled in postgraduate He studied Theology in Turin (Italy) at studies at the same faculty, department Pontificia Salesiana University, where he of Architecture and Design, which she received a degree in 1995. He worked as successfully completed in 2016. Hermaster’s a priest and leader of the Youth Centre in thesis on “Illumination as a Perceptual Maribor, Slovenia.

Dimension of Architecture”, under Prof.

Since 2004, he has been working as a priest, Vladimir Mako, Ph.D, is being finalized. She director of the Centre for Education and started her career in 2014 at the Statistical Upbringing Don Bosco (CooDB), and is the Office (MONSTAT). Since 2015, she has been leader of the Youth Centre in Podgorica.

employed at the electrical engineering firm Sienersys, Podgorica, as a lighting designer, where she has acquired knowledge and experience in the field of lighting.

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Catholic Church of the Sacred Heart of Jesus Podgorica CIP - Kataložni zapis o publikaciji

Experience of Sacral and Brutalist Architecture Narodna in univerzitetna knjižnica, Ljubljana editor Marija V. Ivezić

726:27-523.42(497.16Podgorica)

translation Valentina Šaranović

Catholic Church of the Sacred Heart of Jesus Podgorica : experience of sacral and brutalist architecture / [editor Marija V.

photos Parish archive

Ivezić ; translation Valentina Šaranović ; photos parish archive] -

design

Ljubljana : Salve, 2019

issuer Don Bosko centar Podgorica

Izv. stv. nasl.: Katolička crkva Presvetog Srca Isusovog Podgorica publisher Salve d.o.o., Ljubljana, 2019

ISBN 978-961-289-045-2

copies 1.000

COBISS.SI-ID 301968640

print IVPE Cetinje, Montenegro

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