landscape architecturelandscape architecture produce works of art, we must be able to anchor this...

1999

1919

February 22-25, 1999 * Grand hotel Adriatic * Opatija

AgriculturalScience in

Croatia at

the Treshold ofthe Third

Millenium

ABSTRACTS

BOOK

XXXV

CROATIAN

SYMPOSIUM

ON

AGRICULTURE

with an International

ParticipationANNIVERSARY OF

THE FACULTY OF

AGRICULTURE

UNIVERSITY OF

ZAGREB

80th

XXXV CROATIAN SYMPOSIUM ON AGRICULTURE

AGRICULTURAL SCIENCE IN CROATIA AT THE TRESHOLD OF THE THIRD MILLENIUM

LANDSCAPE ARCHITECTURE

237

THE CONTEMPORARY PROFILE OF LANDSCAPE ARCHITECTURE

Du�an 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 seemsappropriate at this point of time.I would like to begin with an issue of paramount importance, namely: can landscape architecture produceworks of art? If it were not possible to give an affirmative answer to this question, landscape architecturewould not exist and this paper would be oblivious. It may seem paradoxical, but it is a matter of fact thatlandscape 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, Baroqueor Japan, are works of art was taken for granted and never questioned nor theoretically verified. Surprisinglyenough, even the great authors, like Christian Hirschfeld in his monumental Theory of Garden Art in sevenvolumes (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 recentlypublished volume on History of Garden Design (3).However, it seemed to me necessary to offer to this conference a more articulated image of what landscapearchitecture is as a design, artworks producing discipline. Namely, if we want an answer to the question: canlandscape architecture produce works of art, we must be able to anchor this issue into the broader context of artdefinition. 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 canbe, 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 ontologicalfeatures of any art discipline. There is a saying by Ernesto Grassi that is crucial in this context (quote): Modernart - and this equally refers to arts of any period - is art only then when its materials serve the presentationof certain ideas of human possibilities (3). With this feature stands or falls the ability of any visual productionto promote itself into the status of art. Conclusion of this point is: Garden art/Landscape architecture was notonly capable of producing specific means of expression but has also been able to integrate itself in any stylisticconfiguration 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 selectionof both living and non-living natural to artificial materials. This is an important chapter. The great Germanphilosopher Arthur Schopenhauer, when discussing theoretical aspects of architectural design has referred alsoto 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 alittle further: �The beauty... belongs almost entirely to nature, the contribution of garden art to it is quitemodest...� (4) . As far as the difficulty in the control of the landscape material is concerned he was right.

XXXV ZNANSTVENI SKUP HRVATSKIH AGRONOMA

HRVATSKA AGRIKULTURNA ZNANOST NA PRAGU TREÆEG TISUÆLJEÆA

UREÐENJE KRAJOBRAZA

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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 treatedwith a brilliant skill.

5. Mirroring and depicting the contemporary social conditions and even more: landscape architecture has alsocontributed to the social and cultural formation of any period.

6. Marking the position of man on the earth in a clear, recognisable form7. Provision of security for man throughout the entire history, especially by supplying him with status symbols8. Landscape architecture is a part of the historical awareness of mankind, an overall incorporated societal

experienceLandscape architecture has made, like architecture, an important and very specific contribution in humanisingMan which is the highest accomplishment that any art can possibly achieve. Again and again, it has helpedMan to exceed the already achieved level of social awareness and in this way to foster and further continuethe process of humanisation.

Means of expression - design language in landscape architectureIn order to reach these high goals, landscape architecture had to develop a great variety of compositiontechniques and means for expression. This development was extremely difficult because landscape designhad first to separate its materials, plants, rocks, land, water, from the world to which they belong, that meansalienate them from nature, in order to be able to create a new reality, a reality that could carry man�smessages and permanently communicate them. It must not be forgotten that throughout history, until veryrecently, this natural world has been perceived by Man as hostile and as a source of uncertainty. Consideringthat, landscape architecture represents a unique spiritual rise of Man, indeed, a triumph of his creativegenius and achievement in the most demanding and difficult means of expression among all arts - in theliving natural material.Let me briefly outline some basic procedures in which landscape architecture creates a formal language ofits own. These techniques are incomparable with any other visual discipline. As mentioned, our main materialcomes from the nature with familiar characteristics. If we are to process them into structures that shouldmean 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 protectingtheir 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 quincunxas grid formations;

- agglomeration as the assembling of a number of individual elements, trees or rocks, so that they form anew plastic entity: clumps of trees in the English landscape movement or shanshui, motif of mountainand water in the Chinese legacy;

- reduction of three-dimensional bodies into planar structures (massing flowering and ground cover plantsor stones into homogeneous surfaces) where individual features are subdued in the new plasticphenomenon;

- 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 reductionand some others. Talking about design language, we must bear in mind that we get here products, both atthe vocabulary and the syntactic, hierarchically higher level.




239

It is very important to note that use of abstraction was made not only in the geometrical approach but alsoin landscape design that operates within the organic landscape morphology, like in the landscape style, andin the Chinese or Japanese traditions. This implies also a clear negation of the often suggested theses ofthe mimetic, imitative nature of landscape design. The entire phenomenology of abstraction evidentlycontradicts such theories which appear even in our time. A thorough analysis of any landscape artefact inhistory, from ancient Egypt through Renaissance, Baroque, English landscape style, Chinese, Japanese orIslamic garden would clearly show that they all are based on abstraction procedures. It is precisely thesemethods of generating design language that yields landscape architecture the highest level of the autonomyand identity among the visual arts.

Relationship with other plastic artsThere has always been a keen interest in the relationship between visual disciplines. This particularly refersto painting and architecture as being close to landscape architecture in one way or another. In the 17th CenturyEngland, there has developed a widespread opinion that the composition technique of the landscape stylewas largely modelled after paintings by Claude Lorrain, Poussin and others. It is beyond any doubt that thepainting was partly instrumental in the formation of the new style. It has certainly helped to shape the pictorialscheme of the period, but the real forces behind the origin of the English style are in the specific socio-economic and political situation of England as an emerging parliamentarian democracy in conflict with thefeudal court, and also as a becoming leading imperial power. As such it could not accept the spatial symbolsof 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 pastoralpoetry. Therefore, such conclusions are risky. Or, it could equally be put that also the Neo-Palladianarchitecture was derived from Lorrain�s paintings which, of course, makes no sense. Another questionablestatement of this kind would be to say that paintings of Mondrian have generated Modern architecture orlandscape design. This is partly true, but only in so far as all arts have originated in the same atmosphere ofphilosophical ideas, social movements, economic conditions, aesthetic spirit of the period, advances in naturalsciences etc. In this context, a saying by Kandinsky sounds most relevant: �We can learn from the relateddisciplines, however, the recognitions we borrow from them must be processed according to composition laws ofour own discipline�.Speaking about relationships, we must, in the first place, be aware of the differences and the demarcationline between painting on the one hand, and architecture and landscape architecture on the other. Paintingis representational art, it shows certain reality in two-dimensional images. On the contrary, architecture andlandscape architecture do not represent anything, they are realities themselves, man-made physical worldsand not pictorial presentations. This was well shown by Schopenhauer: �The art of building differs from theplastic arts (painting and sculpture) and the poetry in that it is not an after-image, an imitation, but constitutes thereality� (6). Susan Langer supports this viewpoint saying that: �The architect deals with a created space, a virtualentity�(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 followingcomparative scheme:

painting, sculpture architecture landscape architecturedepict a reality creates a new creates a new, non-(e.g. landscape) hitherto unknown existing world by usingfigures) or ideas using reality by using material material that does possessamorphous material without aesthetically own natural shapes which(paints, charcoal, clay, perceivable shape can be subject of aestheticstone, wood etc.) (cement, clay, sand, brick) appreciation (rocks, plants).




240

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




241

The above scheme was made in an attempt to outline the characteristics to the best of my knowledge and asobjectively as I could. Certainly, there are shortcomings which I would be happy to receive in any form., alsowill 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 essentialsin both professions would unveil deep differences that do not allow such conclusion. Also the practice doesnot approve such assertion. Yet, we must never forget that these two professions are crucial for the qualityof our environment. Hence our responsibility to develop a feeling of the belonging to common objectivesand 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 wasmade 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 hasexpanded enormously. Here I have in mind the landscape planning, a discipline of landscape architecturethat is dealing with development and conservation aspects of landscapes. It provides basic knowledge aboutlandscapes in their cultural and ecological dimensions,and interpolates these recognitions into the process of land-use decisions. In this quality, it an indispensablepartner of urban and regional planning with a growing importance in the years to come.

This text is a partly modified key-note paper presented atthe IFLA Conference on Art and Landscape in Athens 1998.

Department of Landscape Architecture, Biotechnical Faculty, University of LjubljanaJamnikarjeva 101, 6100 Ljubljana, SLOVENIA

PLENARY




242

Department of Landscape architecture, University of Ljubljana, Biotechnical facultyJamnikarjeva 101, 6100 Ljubljana, SLOVENIA

ORAL PRESENTATION

DESIGNING PLURALISTIC URBAN LANDSCAPES

Davorin GAZVODA

SUMMARY

Urban open spaces consist of numerous historical layers, each different in its meaning and form. Unlikearchitecture, landscape follows natural processes, which often blur social, political and aesthetic meanings,designed urban landscapes had originally. To identify individual landscape layers and distinguish persistentlayers from those in constant transition is important for conservation of valuable urban landscapes and fordesigning new, complex urban spaces.This is especially true in countries which frequent or drastic social transitions are followed by inevitable butoften less crucial spatial changes. New complex design proposals for urban landscapes which actually satisfyevery day�s requirements are more likely to resist social changes through time. For this reason a transformationof urban green ring, defined by The Path (historical monument and urban element) around Ljubljana, Sloveniais chosen to explain a complex relationship between society and space in transformation.

DOUBLE REFLECTIONSSpace and time in the operative process of landscape architecture*

Ana KUÈAN

SUMMARY

Projects and objects of landscape architecture are always �double reflections�. In the evolution from gardenarchitecture to the architecture of the whole living environment, they emerged as manifestations of socialorder and expressions of human relationship to nature, moulding nature in various ways to achieve the desiredaim.Dealing with �living materiality� landscape architecture continuously relates to insights into nature, whichthe natural sciences keep providing and supplementing anew. That is why knowledge on ecology has flowedinto the field of landscape architecture to the full extent and labelled its contemporary design. The key inthe operative process is to know the principles of natural processes in the created ecosystem, for we canturn them for the benefit of the designed structure. That is why it is important to address the issue of theperennial and ephemeral in open space design. Objects of landscape architecture that are far-removed fromnature, as for example the renaissance and baroque gardens, require a high level of maintenance that is tiedto high costs. In the economics of the urban policy, urban landscapes as most public areas require lowmaintenance costs by definition. The problem then is, how to achieve a desired spatial structure with minimummaintenance costs. It is associated with the operative process leading from the visions to practice, resultingin tangible reality.Many factors affect this process that can, if not properly considered in advance, lessen the control of thelandscape 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 mostcases a living spatial structure, in which the processes of natural succession are under severe control. Theapparent conflict between �the designed� and �the coincidental� exposes the dynamic quality, unique to theobjects of landscape architecture that are inseparable pair of space and time.

* The initial reflections on the problem of the operative process in landscape architecturewere published in AB, architect�s bulletin 27(1997) 135-136: 58-67.

Department of Landscape architecture, University of Ljubljana, Biotechnical facultyJamnikarjeva 101, 6100 Ljubljana, SLOVENIA

ORAL PRESENTATION




243

Kabinet za povijesne vrtove i razvoj krajobraza Dubrovnik Agronomskog fakulteta Sveuèili�ta u ZagrebuOffice for Historical Gardens And Landscape Development-Dubrovnik, HRVATSKA-CROATIA

ORAL PRESENTATION

POVIJESNO VRTNO PREDGRAÐE DUBROVNIKAPROJEKT ISTRA�IVANJA OTVORENIH PROSTORA

Bruno �I�IÆ

SA�ETAK

Povijesno predgraðe Dubrovnika prote�e se od zapadnih vrata srednjovjekovnog Grada do vodovodnog kanalana padini brda Srð, kojim je 1438. 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, ko�e 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 okru�eni prostranim oblikovanim vrtovima.U 17. stoljeæu ladanjski vrtovi okru�uju Grad.Poslije velikog potresa 1667. g. na Pilama i Konalu poèinje gradnja kuæa za stalno stanovanje, oko kojih subili ureðeni manji vrtovi. To je uvjetovalo da tijekom 18. st. Pile i Kono poprime karakter vrtnog predgraða.�irenjem grada u drugoj polovini 19. st. i osobito tijekom 20. st. podruèje Pila i Konala do�ivljava znaèajnepromjene, koje uzrokuju kako uni�tavanje tako i cijepanje prostora brojnih starih vrtova.Pa i pored svega, tu jo� i sada postoji izvjestan broj vrtnih prostora iz razdoblja od 16. st. do pada DubrovaèkeRepublike (1808), a takoðer i brojni njihovi ostaci. To staro vrtno nasljeðe uz novije vrtove i javne perivojeèini ovaj dio dana�njeg Dubrovnika vrlo atraktivnim dajuæi mu ujedno karakter povijesne vrtne zone.Projektom sustavnog istra�ivanja vr�i se identifikacija, inventarizacija i vrednovanje svakog pojedinog vrtnogi sliènog prostora. Prikupljena dokumentacija predstavlja podlogu kako za za�titu svih tih prostora tako i zakvalitetno prostorno planiranje i ureðivanje predjela Pila i Konala u buduænosti.

HISTORICAL GARDEN SUBURBS OF DUBROVNIKRESEARCH PROJECT OF OPEN SPACES

SUMMARY

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 since1438. 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 asmall harbour in Pile. In the 14th and 15th century there was the industrial section there, with workshops forproduction of textile, metal, glass, leather, etc.After construction of the waterworks and its extensions the system of the main streets was systematicallyregulated in the area.From the end of the 15th century in Kono and around Pile area the summer villas were built, surrounded byspacious and shaped gardens. In the 17th century leisure gardens surrounded the City.After the terrible earthquake of 1667 the building of the houses for permanent living started in the area ofPile and Kono, which had small-arranged gardens around them. All that made Pile and Kono in the 18th

century have the character of a country garden suburb.By spreading the City in the second half of the 19th century, and especially during the 20th century, the areaof Pile and Kono went through important changes, which caused destruction as well as partitioning of thearea of numerous old gardens.Nevertheless, there is still a certain number of garden spaces dating from the period of the 16th century untilthe fall of the Republic of Dubrovnik (1808), as well as their numerous remains. That old garden heritagewith modern gardens and public gardens make this part of the present Dubrovnik very attractive, giving itat the same time the character of the historical garden area.The project of systematic research performs identification, inventory and evaluation of each and every gardenand 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.




244

Zrinjevac d.o.o., Remetineèka 15, 10020 Zagreb, HRVATSKA-CROATIA

ORAL PRESENTATION

KATASTAR ZELENILA GRADA ZAGREBA

Miroslav FRGIÆ

SA�ETAK

Odnos izmeðu èovjeka i prirode postoji od pamtivijeka. U gradskim sredinama usred gomile betona, asfalta,èelika, pra�ine i buke, zelenilo postaje jedno od najva�nijih potreba svakog graðanina. Ureðenje nekogpodruèja i poduzimanje mjera za�tite ili ureðenja èovjekove okoline, te niz drugih zahvata u oblasti izgradnjei projektiranja nije moguæe, ako se ne raspola�e stanovitom dokumentacijom grafièkog i opisnog znaèaja izkoje bi bilo vidljivo �to se na odreðenom podruèju interesa nalazi, odnosno kakvi su odnosi i druga znaèajnazbivanja na njemu. Dokumentaciju o kojoj je rijeè, moguæe je osigurati tek vr�enjem detaljne geodetske izmjerete izradom odgovarajuæih evidencija i deteminacijom opisnog karaktera o pravnom i fizièkom statusunekretnina na odreðenom podruèju. Radi toga postoje veæ katastar zemlji�ta, katastar vodova, katastar �uma,katastar pomorskih dobara i niz drugih evidencija. S druge strane za�tita okoli�a kao jedna od prioritetnihdjelatnosti, neophodno nameæe nove zadaæe svim sudionicima u prostoru, poèev�i od urbanista-projektanatado izvoðaèa i drugih, pa je katastar zelenila i ostalih hortikulturnih sadr�aja itekako znaèajan kao jedan odsustava u cjelokupnom katastru zemlji�ta. �Katastar zelenila� kao podprojekt GIS-a grada Zagreba definiraoje: ciljeve projekta, funkciju projekta, veze s drugim informatièkim sustavima, hardwer/softwer okru�enje,opseg i te�inu projekta, izvoðenje po fazama, kori�tenje projekta i druge detalje vezano za isto.

THE LAND-REGISTER OF GREEN AREAS IN TOWN ZAGREB

SUMMARY

The relationship between man and nature exist from the very beginning. In urban areas among huge amountof 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�senvironment, and series of other grips in district of construction and projecting isn�t possible if we don�tdispose of certain documentation graphical and descriptive significance, from witch it could be seen what ison determined area or what are the relations and other significant occurrences on him. Documentation ispossible to provide with detailed surveying measuring and making corresponding records determinatedescriptive character about legal and physical status immovable property on determinate. Because of thatwe already have land-register, cadastral of lines, cadastral of woods, cadastral of marine possessions andother evidence. On the other hand, the protection of environment like one of priority activity is indispensablyimposing new tasks to all participants in that area, starting from projector till performer of that work and allother involved and that�s why land-register of green areas is very much important like on of the system inwhole 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 andperformance through stages, project use and other details linked (connected) with the same.




245

ORAL PRESENTATION

NJEGA JAVNIH POVR�INA ZELENILA GRADA ZAGREBA

Ivanka MLINARIÆ

SA�ETAK

Povr�ine zelenila, koje u naseljenim dijelovima grada Zagreba predstavljaju prostore zajednièkog kori�tenjaizuzev�i groblja i park �uma, podijeljene su 1975. godine prema pripadnosti tada�njim opæinama, za ovaj radnazvanima kotari zelenila. Za svaki kotar zelenila saèinjen je zaseban �Popis javnih zelenih povr�ina�. Popisi4 kotara zelenila, ukupno 41,6% evidentiranih javnih povr�ina zelenila grada Zagreba u 1999. godini, nesvrstavaju povr�ine zelenila po kategorijama krajobrazno-vrtlarske njege. Povr�ine zelenila preostalih 6 kotarazelenila podijeljene su po kategorijama krajobrazno-vrtlarske njege unutar pojedinih kotara. Razlièitodefiniranje javnih povr�ina zelenila i neujednaèenost kriterija pri odreðivanju kategorije krajobrazno-vrtlarskenjege nepovoljno utjeèu na oblikovno-funkcionalno stanje javnih povr�ina zelenila grada Zagreba. To dolaziposebno do izra�aja na veæim povr�inama zelenila smje�tenima na granicama 2 ili vi�e kotara zelenila. Stogaje bilo potrebno iz aspekta grada kao cjeline pronaæi odgovarajuæe kriterije za odreðivanje kategorijekrajobrazno-vrtlarske njege. U novim su popisima,uz lokaciju povr�ine zelenila i njezine ukupne velièineupisane i sve sastojine koje se nalaze na toj povr�ini: travnjak, stabla, grmlje, ru�e, �ivica, trajni i sezonskicvijetnjaci. Povr�ine zelenila podijeljene su na vrste prema kori�tenju i namjeni te ubilje�ene na planu gradas oznakom vrste povr�ine zelenila. Kategorije krajobrazno-vrtlarske njege povr�ina zelenila odreðene su sobzirom na njihovu funkciju, smje�taj u prostoru grada, vrstu te potrebe koje iziskuju sastojine odreðenihpovr�ina zelenila.

MANAGEMENT OF PUBLIC GREEN AREAS IN THE CITY OF ZAGREB

SUMMARY

Green areas, as communal public areas in inhabited parts of the city of Zagreb, except for cemeteries andpark woods, were in 1975 divided according to the city municipalities of that time and are called greenerydistricts for the purpose of this paper. A �List of public green areas� has been compiled for each greenerydistrict. Lists for 4 greenery districts, constituting 41.6% of total registered public green areas in Zagreb in1999, 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 horticulturallandscape management within particular districts. Different definitions of public green areas and ununiformcriteria for landscape management categories have an adverse effect on the functional shaping of publicgreen areas in Zagreb. This particularly applies to large green areas at the boundaries between 2 or moregreenery districts. It was, therefore, necessary to set appropriate criteria for horticultural landscapemanagement that would be applicable to the city as a whole. In addition to the location and overall size ofa green area, new lists also include all stands found in that area: lawns, trees, shrubs, roses, hedges, perennialand seasonal flower beds, etc. Green areas are divided according to their function and purpose and beartheir type designation on the city map. Categories of horticultural landscape management of green areashave been defined taking into account their function, location within the city area, type, and the requirementsof particular stands within green areas.

Zrinjevac d.o.o., Remetineèka 15, 10020 Zagreb, HRVATSKA-CROATIA




246

LUZ, Vojkova 57, 6100 Ljubljana, SLOVENIA

ORAL PRESENTATION

URBAN GARDENINGSome aspects of urban gardening in Ljubljana

Maja SIMONETI

SUMMARY

Gardening has become interesting for a growing number of citizens as most of them are living in houseapartments in urban areas. Gardens are expanding on all kinds of locations. In the study of the city of Ljubljanawe are speaking about the land use which spreads out on an area equal to the city center, and which occupiesapproximately 12000 people.The first goal of the study done in 1996 was to review the characteristics of urban gardening on the wholethrough the literature and cases. Doing this and analyzing the situation in Ljubljana an effort was made tofind out the possible criteria for further development of this urban use. Spatial characteristics, environmentalimpacts and ways of organizing interested citizens were analyzed to find out what are the trends in spatialspread and growth. Since all the other problems were of such magnitude and importance, we deliberatelypostpone 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 Ljubljanaarea, the first done in 1985 and the second in 1995. Further analysis was done by on site checking of thelocations and making interviews with the gardeners. The found out spatial expansion showed an approximategrowth of 50 hectares in ten years. Only a minor part of all the space in this use was situated on a preplannedlocations. Mainly there is a problem of illegal or at least partly illegal spatial use. Not only that the long-term urban plan offered insufficient amount of acceptable locations, also the every day urban practice ignoredthe fact that gardening is spreading. Urban gardening is a potential threat for the environment, as no onecontrols and advise the use of the fertilizers and because of the uncontrolled locations. It can also becomethe threat for the health of the gardeners.The study clearly disproved the prejudice about marginality of urban gardening and brought out theimportance of controlled land use on private as on public property as it is crucial for spatial development.




247

PLANIRANJE UNUTAR ZAKONOM NEZA�TIÈENOG KRAJOBRAZA

Nenad LIPOVAC

SA�ETAK

Ovaj rad je nastao kao rezultat suoèavanja sa brojnim problemima za vrijeme izrade Prostornih ili Deataljnihplanova ureðenja za Opæine i Gradove Hrvatskoga zagorja koji se ne nalaze na listi Zakonom za�tièenihprostora. Zasigurno, jedan od najveæih problema s kojim se susreæemo je utvrðivanje odgovarajuæemetodologije izrade Plana, a da se uspiju pomiriti dvije toliko opreæne �elje: omoguæavanje gospodarskograzvoja kraja na jednoj strani i oèuvanje slike naselja sa cjelokupnim krajolikom koji ga okru�uje.Mnoge dosada�nje planerske metodologije zasnivaju se na zakonskim ogranièenjima i nedoreèenostima, apreporuke za za�titu okoli�a svode se samo na nekoliko redaka u odredbama plana. Svjedoci smo da seprostor nemilice tro�i, bez obzira na stvarne potrebe odreðenog mjesta, a sve u cilju da se zadovolji trajnaglad lokalne samouprave za �gospodarskim razvojem� mjesta ili opæine. Prirodna i kulturna ba�tina i njihovaza�tita i oèuvanje spominju se samo deklarativno, a to rezultira vrlo visokom cijenom u vidu gubitkatradicijskog (prirodnog i kulturnog) karaktera mjesta/prostora.Da bi svladali taj problem trebamo kvalitetan pristup planiranju i cjelokupnom procesu, a sve to u ciljuoèuvanja identiteta odreðenog naselja ili okoli�a (njegovu mentalnu i fizièku pojavnost). Stoga, mi planerimoramo preuzeti vrlo va�no obvezu u procesu planiranja: nauèiti sebe i druge da �èitaju� prirodne elementeokoli�a koji stvaraju identitet prostora, da ih vrednujemo, ocijenimo njihovu va�nost i predlo�imo naèin daih saèuvamo i oèuvamo za na�u buduænost i buduænost èovjeèanstva. Moramo nauèiti razlikovati Identitetmjesta i na�e poistovjeèivanje sa mjestom jer jedino tako mo�emo uraditi vrijedan i koristan plan za oèuvanjeprostora. Poistovjeèivanje sa mjestom ima subjektivno (osobno) znaèenje, dok identitet mjesta u sebi sadr�iobjektivne fizièke karakteristike.Identifikacija, procjena i valorizacija te obnova prirodnih vrijednosti i briga za ekosisteme odreðenog prostoratreba da postane sine qua non u svakom procesu planiranja. U ovom radu prikazana je metodologija zaoèuvanje identiteta mjesta koju vrlo uspje�no koriste autor i njegov autorski tim na Arhitektonskom fakultetuu Zagrebu. To se odnosi na prostore u Hrvatskom zagorju koji nisu za�tiæeni zakonskim dokumentima, adobiveni rezultati i suglasnosti i pohvale nadle�nih Ministarstava dokazuju o ispravnom putu i cilju planiranja.




248

Katedra za urbanizam, Arhitektonski fakultet Sveuèili�ta u ZagrebuDepartment for Town and regional Planning,Faculty of Architecture University of Zagreb

Kaèiæeva 26, 10000 Zagreb, HRVATSKA-CROATIA

ORAL PRESENTATION

PLANNING FOR LEGALY NOT PRESERVED ENVIRONMENT

SUMMARY

This paper has arisen out of numerous problems I have had to face in my professional experience of planningfor small towns and villages that are not under General Preservation Ordinances. The planning ranges fromRegional plan for the whole Opæina or Town to Detail Town plan. For sure, one of the most complex problemsderived from how to define the most effective methodology in the planning process and to confront two, sodifferent, poles is: to insure the economic progress of the place itself, and still preserve the image of theentire place together with its open space setting.Many up-to-day planning methodologies rely mostly upon the legislative limits of �good zoning� containedin conservation and preservation ordinances only as one implementation measure to carry out the plan as awhole. The space has been used regardless of the real needs of the entire place, following strictly the demandof economic progress. Natural and cultural heritage and its preservation are mentioned just very generallyand are paying the high price of traditional sense of place loss through conventional planning anddevelopment.To overcome this a good and valuable urban planning process is needed that will preserve the identity (mentaland 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 identityof the place, how to evaluate every single part of it, and how to preserve it from us for our future and thefuture of the rest of man-kind. We have to learn how to make a distinction between identity with and identityof place as this will help us produce a valuable sustainable plan. Identity with place has a subjective, personalmeaning, while identity of place relates to its physical characteristics. Identifying, evaluating and restoring natural values and concerns about ecosystems, plants and animals orbiosphere as a whole, has to become a sine qua non step in any planning process. This paper represents themethodologies for identity of place protection used succesfully by the author and his planning team at theFaculty of Architecture, University of Zagreb. Using the described methodology in planning for not legalypreserved places and surrounding environment in Hrvatsko zagorje and gained results proved that the goalswe set were targeted in right direction.




249

Department of Landscape architecture, Biotechnical faculty, University of LjubljanaJamnikarjeva 101, 6100 Ljubljana, SLOVENIA

ORAL PRESENTATION

A SEARCH FOR THE CONSTITUENTS OF LANDSCAPE IDENTITY

Tanja SIMONIÈ

SUMMARY

The paper is based on the significant position of landscape in the premise of the Slovenian cultural identityphenomena. In the context of contemporary socio-spatial dynamics of change and processes, preliminarystudy was conducted in order to investigate the dynamics of identity change with attention given to landscapeidentity.Preliminary studies show common recognition of landscape as an important constituent of Slovenian culturalidentity. In this context the identity and fields of identification are described and formation, evolution andmeaning of space related identity is considered in a brief overview. Further attention is given to differentspatial constituents as part of the emerging identity phenomena. In the paper world-wide globalisationprocesses are presented in short and homogenisation trends that endanger present cultural identities arespecified. In this respect closer attention is given to processes which in people�s opinion have the highestinfluence on deminishing of slovenian recognition. In adittion, the attitudes towards the need for conservationof different constituents of cultural identity are explored.Landscape is proved to play an important role in the Slovene cultural identity issue. Considering the resultsof the study, the question of establishing constituents of landscape identity and developing the guidelinesfor directing the landscape change in Slovenia is put forth.

ALTERNATIVE PROPOSALS AND LANDSCAPE PROTECTION

Ale� MLAKAR

SUMMARY

The paper presents the role of defining, comparing and evaluating alternative proposals of differentdeveloping programs as possible mechanism of landscape protection.There are so many alternatives as many different interests in space are present. It is necessary to recognizethose alternatives and find out how particular interests are respected in each of them and then choose theoptimal one.The paper deals with themes like why is important to define all possible and reasonable alternatives, howmany alternatives there should be, what distinguish alternatives from one to another, who should proposealternatives, why and how different interests in space should be included in alternative proposals and howimportant is public participation, how should alternatives be established, when and how should alternativesbe proposed in planning process and how to compare and evaluate alternatives.Developing and comparing alternative proposals connected to landscape protection is represented on differentlevels of Slovene highway project, from phase of determining highway corridors, through phase of optimizingtechnical solutions of road, to final arrangement of roadside landscape.

Department of Landscape architecture, Biotechnical faculty, University of LjubljanaJamnikarjeva 101, 6100 Ljubljana, SLOVENIA

ORAL PRESENTATION




250

AGRARNI KRAJOBRAZI NA PRAGU 21. STOLJEÆAU TRAGANJU ZA IZGUBLJENIM KARAKTEROM

Robert DUIÆ

SA�ETAK

Kulturni krajobrazi popri�ta su intenzivnog rada èovjeka koji prirodu prilagoðuje svojim razlièitim potrebama.Oni su posljedica kori�æenja zemlji�ta za privreðivanje i èovjekov boravak, pa je njihova povijest stara kolikoi povijest sesilne kulture.Kulturni krajobrazi èesto odra�avaju specifiène tehnike uravnote�enog kori�æenja zemlji�ta, kao i specifièniduhovni odnos prema prirodi, a svjedoèeæi o ljudskoj prisutnosti i njihovom naèinu �ivota predstavljaju va�nedijelove na�e kulturne ba�tine.Tako shvaæene kulturne krajobraze mo�emo poistovjetiti sa tradicionalnim agrarnim krajobrazima gdje jeskladno djelovanje èovjeka i prirode oblikovalo raznolike krajobrazne strukture i uzorke, prepoznatljive i namikroregionalnoj razini.Ali, te stoljetne, a negdje i tisuæljetne strukture kidaju se kao posljedica neusklaðenosti razvojnih procesa sakrajobraznim vrijednostima. Industrijalizacija, urbanizacija, mehanizacija i racionalizacija agrarne djelatnosti,te razlièiti integracijski procesi faktori su koji su sna�no utjecali na tradicionalni agrarni krajobraz, èestooblikujuæi jedan posve novi krajobraz, ekolo�ki i kulturno osiroma�en, te nezanimljiv kao prostor boravka ido�ivljavanja.Prepoznavanje (fiksiranje) karaktera krajobraza, odnosno procesa i zakonitosti koje rezultiraju odreðenomstrukturom 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 uzorkakulturnog krajobraza pripomoæi æe i�èitavanju slojevitosti prostora, te uoèavanju pojedinih prostornihkonstanti relevantnih za prepoznatljivost odreðene mikroregionalne cjeline.




251

Zrinjevac d.o.o. Remetineèka 15, 10020 Zagreb, HRVATSKA-CROATIA

ORAL PRESENTATION

AGRARIAN LANDSCAPES AT THE BEGINNING OF THE 21 CENTURYTRACKING DOWN THE LOST CHARACTER

SUMMARY

Cultural landscapes can be viewed as scenes of intensive human activities with the scope of adjusting natureto the varied man�s needs. They spring up from human exigency for profitable land exploitation as well asfrom human urge to provide for the needs of habitation; therefore their own history is as old as the one ofthe sessile culture.Cultural landscapes mostly grow out of the specific techniques, aimed at the balanced land exploitation andimply the specific mental attitude of men towards nature, and, since they are giving evidence of presence ofmen and their different lifestyles, they should be regarded as indicating valid integral components belongingto our collective cultural heritage.Such kind of cultural landscapes conception and interpretation makes possible their identification with thetraditional agrarian landscapes, where the harmony between human and natural activities have resulted inshaping different structures and specimens of landscape, the ones that may be recognized even at themicroregional level.However, those centenary and somewhere even millenarian structures are being broken as a result ofincompatibility and lack of coordination between the developmental processes and progress and landscapevalues on the other side. Industrialization, urbanization, mechanization and rationalization of the agrarianactivities, together with different integration processes are major factors which have strongly affected thetraditional agrarian landscape, often resulting in shaping an entirely new landscape, ecologically and culturallyimpoverished and utterly uninteresting place in terms of visiting and residing.Recognition (determination) of the landscape character, with reference to the processes and patterns resultingin certain structure is therefore the concept that suggests itself as one of the starting points of primarilyimportance in terms of main stategic policies towards proper evaluation of a specific place. Considerationof the social, economic and cultural circumstances that brought about shaping certain pattern of the culturallandscape will be regarded as helpful information of practical significance in determining stratification of aplace and, additionally, in observing certain constant spatial patterns, relevant to the identification of thegiven microregional entirety.




252

KULTURNI KRAJOLIKPRETPOSTAVKE ZA ZA�TITU I METODE NJEZINE PROVEDBE

Zofia MAVAR

SA�ETAK

S oèiglednim porastom ugro�enosti, pod utjecajem intenzivne urbanizacije, potreba za�tite kulturnogakrajolika sve je èe�æe predmet meðunarodnih konferencija, no njihove preporuke te�ko nalaze primjenu una�oj praksi. Razlog tomu, meðu ostalim, valja potra�iti u ustaljenom, naèinu prostornoga planiranja kojeje, dakako pogre�no, u cijelosti podreðeno razvojnim ciljevima, pri èemu se na� �iri okoli� ne prepoznajekao integralna cjelina sastavljena od vi�e tipova krajolika, a svaki s iznimno slo�enom problematikom; najèe�æese ignorira kulturni krajolik povijesnih naselja (osobito sela), za�tita se svodi na pojedinaène elemente, aèinjenica da je prostor trodimenzionalan potpuno se zanemaruje èime se negira i tradicija povijesne urbanekompozicije.Slo�enost problema za�tite kulturnog krajolika u procesu prostornoga planiranja zahtijeva primjenu razlièitihmetoda istra�ivanja i specifiène studijske i projektne radove. To je osobito va�no u novom pristupu prostornomplaniranju koji pod geslom �za�tita i ureðenje prostora� treba polaziti od za�tite vrijednosti prostora kaointegralne cjeline.Poku�aj spa�avanja individualnih vrijednosti povijesnoga krajolika u makro- i mikrodimenziji prikazan je naprimjerima iz konzervatorske prakse, a primijenjena studijska metoda prostornoplanskih mjera za�tite prilogje unapreðenju kako konzervatorskog tako i planerskog pristupa k zajednièkom cilju oèuvanja krajolika injegova primjerenog oblikovanja.Iskustvo nas uèi da su pritom nu�na iscrpna interdisciplinarna istra�ivanja, koja, tek pretoèena u jedinstvenstav, mogu uputiti na pravilna rje�enja. To podrazumijeva temeljitu evidenciju svih prirodnih i kulturno-povijesnih vrijednosti prostora u granicama obuhvata plana, njihovu odgovarajuæu analizu i valorizaciju premarazlièitim struènim kriterijima, a zatim uspostavu hijerarhije postojeæih vrijednosti primjerene razini planiranja.Jedino se na taj naèin mo�e sprijeèiti �planirani� gubitak individualnih karakteristika pojedinih prostora,nositelja osebujnog ambijentalnog, regionalnog pa i nacionalnog identiteta.




253

CULTURAL LANDSCAPEPROTECTION PREREQUISITES AND IMPLEMENTATION METHODS

SUMMARY

Under a growing pressure resulting from a most intense urbanization, the need for protecting culturallandscapes has become an increasingly frequent topic of international workshops, however, we often findtheir recommendations difficult to apply under our specific circumstances. The reason for this is, amongother things, a rather routine manner of development planning, which is, quite wrongly, entirely in the functionof developmental objectives, not taking into account wider surroundings as integral entities, composed usuallyof several landscape types, each one of them entailing extremely complex issues. Cultural landscapes ofhistorical settlements (particularly in rural areas) are most frequently being ignored, with protection reservedfor individual elements, while the fact that the space is three-dimensional is completely neglected, thus denyingalso the historical urban composition tradition.The complexity of the issue of protecting cultural landscapes in development planning process requires theapplication of various exploration methods, as well as specific studies and project designs. This is particularlyimportant in the new approach to development planning that, under the motto of �Spatial Protection andDevelopment�, 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 onexamples from conservation practice, while the method of development planning protection measures appliedshould advance both conservation and development planning approach to the common goal of protectinglandscape and providing it with an appropriate form.Experience teaches us that exhaustive multidisciplinary research is necessary here, since only its results, afterbeing integrated into a uniform attitude, may point to suitable solutions. This requires detailed records ofall natural and cultural-historical values of a part of the space encompassed by a given plan; their appropriateanalysis and evaluation according to various expert criteria, as well as the consequent establishment of ahierarchy 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, andeven national identity.

Ministarstvo kulture, Uprava za za�titu kulturne ba�tineMinistry of Culture, Agency for the Protection of Cultural Heritage

Ilica 44, 10000 Zagreb, HRVATSKA-CROATIA

ORAL PRESENTATION




OSVRT NA ZA�TITU I REVITALIZACIJUDEGRADIRANOG KRAJOBRAZA U SMISLU ZAKONA O ZA�TITI PRIRODE

Amalija DENICH

SA�ETAK

Za�tita i vrednovanje krajobraza zapoèelo je za�titom prirodnih rijetkosti pred pola stoljeæa, a na temeljupropisa u prvotno done�enom Zakonu o za�titi spomenika kulture i prirodnih rijetkosti 1949. godine.Provoðenje za�tite dijelova prirode u to vrijeme nisu u reèenom Zakonu bile definirane kategorijama za�tite,nego je osnovna kategorija za�tite bila �prirodna rijetkost� s oznakom objekta za�tite, bio to park, park-�uma, botanièki rezervat ili dr.Odvajanjem slu�be za�tite prirode od slu�be spomenika kulture godine 1960. donosi se zasebni Zakon oza�titi prirode. U tom Zakonu definiraju se pojedine kategorije kao: nacionalni park, specijalni rezervati,krajobraz u kategoriji rezervata prirodnog predjela. Kasnijim promjenama Zakona o za�titi prirode kategorijarezervata prirodnog predjela preimenuje se u kategoriju �znaèajni krajolik�, a danas va�eæim Zakonom oza�titi prirode (NN 30/94), u �za�tiæeni krajolik�. Zakonske promjene odnosile su se na utvrðivanjedjelotvornijih zakonskih propisa u za�titi i oèuvanju pojedinih dijelova prirode i krajobraza, a usklaðeno sUstavom Republike Hrvatske. Va�no je naglasiti da za�tita i vrednovanje krajobraza od poèetka pa sve dodanas sagledava se s gledi�ta za�tite prirode i za�tite spomenika kulture, a u svrhu oèuvanja prirodne i kulturneba�tine, te krajobrazne raznolikosti na�e zemlje.U prvom èlanku va�eæeg Zakona, priroda je u cjelini za�tiæena. Iz reèene zakonske odredbe proizlaze i mjereza oèuvanje i za�titu prirodnih, kulturno-povijesnih i estetskih znaèajki krajobraza.Te mjere za�tite dijelova prirode se oèituju u propisivanju uvjeta i tada kada krajolik nije posebno za�tiæen(èl. 37 Zakona).Svrha utvrðivanja uvjeta je da se postojeæe vrijednosti krajobraza �to manje degradiraju u zahvatima naurbanizaciji, melioraciji, regulaciji vodotoka, te drugim zahvatima.Rad slu�be za�tite prirode ne odnosi se samo na utvrðivanju uvjeta prilikom pojedinih zahvata u krajobrazu,nego i na istra�ivanju, vrednovanju prirodnih i povijesno-kulturnih znaèajki istog, te utvrðivanju metoda ismjernica za sanaciju. To se najoèitije odnosi na iskori�tavanje mineralnih sirovina, koje predstavljajunajrazorniju degradaciju krajobraza. Iz tog razloga zakonskim se propisima utvrðuju lokacije koje æe najmanjedegradirati krajobraz i propisuju investitoru ili korisniku izrade projekta biolo�ke sanacije nakon zavr�etkaeksploatacije.Slu�ba za�tite prirode na temelju zakonskih propisa odreðuje znanstvene metode saniranja degradiranogkrajobraza.Danas na pragu 21. stoljeæa u oèuvanju dijelova prirode i identiteta krajobrazne raznolikosti po�lo se koraknaprijed, te se izradila pro�le godine Nacionalna strategija i akcijski plan za�tite biolo�ke i krajobrazneraznolikosti. U toj strategiji prvi puta, uz ostale izvorne prirodne elemente dat je i znaèaj, te znanstvenovrednovanje poljodjelskih povr�ina u ukupnoj slici biolo�ke raznolikosti.

254




ACCOUNT OF PROTECTION AND REVITALISATION OF DEGRADEDLANDSCAPES RELATING TO THE LAW ON NATURE PROTECTION

SUMMARY

Protection and evaluation of landscapes began by protecting natural rarities half a century ago, pursuant toprovisions of the initial Law on Protection of Cultural Monuments and Natural Rarities of 1949.Protection of parts of nature was at the time not defined by protection categories, but rather dealt with thenotion of �natural rarity� marked as protected object, as the basic protection category, be it park, park-forest, botanical reserve etc.Separation of the nature protection service from the cultural monuments protection service in 1960 broughtabout the separate Law on Nature Protection. The said Law defines specific categories, such as: nationalpark, special reserve, landscape in the category of natural reserve. Subsequent amendments to the Law onNature Protection have influenced the change of term for the category of nature reserve into �importantlandscape�, whereas the currently effective Law on Nature Protection (�Narodne novine� No. 30/94) namesit �protected landscape�. Changes in the Law referred to the determination of more effective legal regulationsin the field of protection and preservation of specific parts of nature and landscape, in accordance with theConstitution of the Republic of Croatia. It would be important to mention that protection and evaluation oflandscape have always been viewed from the perspective of protectinng nature and cultural monuments, forthe purpose of preserving natural and cultural heritage, as well as landscape diversity of our country.Article 1 of the Law in force declares complete protection of nature in its entirety. The said legal provisionis the basis of measures for preservation and protection of natural, cultural and hystorical, and aestheticfeatures of landscape.The nature parts protection measures are visible through requirements being set even for landscape that isnot under special protection (Art. 37 of the Law).The purpose of determining requirements is achieving the least possible degradation of existing landscapevalues imposed by urbanisation, melioration, watercourse regulation and other operations.Work of the nature protection service does not consist exclusively of establishing requirements for specificinterventions into landscape, but also of research, evaluation of natural and hystorical and cultural featuresof it, and of determining restoration methods and guidelines. This is most obvious in exploitation of mineralraw materials, the most devastating of all kinds of landscape degradation. This is the reasoning behind legalarrangements for sites that would minimally degrade the landscape, and obligation for investors or users todevelop bio-restoration projects upon completion of exploitation.Nature protection service, guided by legal regulations, defines scientific methods for restoration of degradedlandscape.Today, at the turn of the 21st century, a step forward has been made in the preservation of nature parts andidentity of landscape diversity. Last year saw the preparation of National Biological and Landscape DiversityStrategy and Action Plan. The Strategy for the first time, along with other original natural elements, attributessignificance to and gives scientific evaluation of agricultural land within the general image of biodiversity.

Dr�avna uprava za za�titu prirode i okoli�aState Directorate for the Protection of Nature and Environment

Ilica 44/II, 10000 Zagreb, HRVATSKA-CROATIA

ORAL PRESENTATION

255




TE PLOMINMOGUÆNOSTI I OGRANIÈENJA REVITALIZACIJE KRAJOBRAZA

Franka ODAK

SA�ETAK

Cilj ovog rada je spoznaja pozitivnih estetskih uèinaka, a istovremno i njihovih ogranièenja, oèekivanih odureðenja zelenih povr�ina u okru�enju velikoga termoenergetskog kompleksa.Rad analizira vizuelni utjecaj kompleksa TE Plomin na atraktivni krajolik Plominskoga zaljeva i na prostoru neposrednoj blizini objekata, te ukazuje na estetske efekte koji se mogu postiæi ureðenjem zelenih povr�ina.Na kraju, rad zakljuèuje da se ureðenjem zelenih povr�ina mogu postiæi rezultati u prikrivanju dijelovakompleksa ili pojedinih objekata, te u stvaranju ugodnijeg ambijenta unutar i oko kompleksa, kao i uuspostavljanju kontakta s okolnim prostorom i krajolikom. Meðutim, kod vizuelnog utjecaja ovako velikihobjekata postoje ogranièenja, koja se ne mogu prevladati ureðenjem zelenih povr�ina, a to su utjecaji koji seodnose na promjenu izgleda �irega krajolika u smislu smanjenja njegovih estetskih vrijednosti.

THERMAL POWERPLANT PLOMINPOSSIBILITIES AND LIMITATIONS OF LANDSCAPE REVITALISATION

SUMMARY

The purpose of this paper is understanding positive aesthetic impacts, and the same time limitations, to beexpected from arranging green spaces in the surroundings of a large thermal energy complex.The paper analyses visual influence of the complex of TPP Plomin on the attractive landscape of the Bay ofPlomin and the area in close proximity of the facility. Further, it points to the easthetic effects to be achievedby arranging green spaces.Finally, the paper concludes that arrangement of green spaces may achieve results in covering parts ofcomplexes or specific objekts, and in creating a pleasanter environment within and around complexes, aswell as in astablishing contact with the surrounding space and landscape. However, there are limitations tovisual effects of such large facilities that cannot be overcome by arranging green spaces. These are impactsrelated to the change in outlook of a wider landscape in the sense of reducing its aesthetic values.

Dr�avna uprava za za�titu prirode i okoli�aState Directorate for the Protection of Nature and Environment

Ulica grada Vukovara 78, 10000 Zagreb, HRVATSKA-CROATIA

ORAL PRESENTATION

256




ZA�TITARSKI I RAZVOJNI ASPEKTIUREÐENJA PROSTORA UZ RIJEKU DRAVU

Branka ANIÈIÆ

SA�ETAK

Istra�ivano je u�e podruèje rijeke Drave od slovenske granice do Ferdinandovca. U tom dijelu rijeka protjeèekroz tri �upanije. Problem je u nerazumijevanju i nepostojanju zajednièkog pristupa kako razvojnim tako iza�titarskim vidovima u pogledu opstanka njezina prirodnog toka. Istra�ivano je podruèje podijeljeno nadvije cjeline: a) gornji tok rijeke uzvodno od Botova, s regulacijskim promjenama i ostacima prirodnog korita,b) donji, nizvodni saèuvanih prirodnih obilje�ja uz jo� nepromijenjen tok rijeke.Cilj istra�ivanja je bio utvrditi prirodne i kulturne krajobrazne vrijednosti te utvrditi i ukazati na nastale ioèekivane posljedice u sluèaju drugaèijeg kori�tenja tog prostora.Unatoè regulacijskim zahvatima na postojeæi tok rijeke to je podruèje jo� uvijek prostor visoke vrijednosti.Osim izrazite biolo�ke i ekolo�ke raznolikosti, zamjetna je i fiziografska djelatnost rijeke kojom se ostvarujevelika prostorna raznolikost. U istra�ivanom dijelu rijeke tok je ubrzan nagibom, a relativno plitko korito spuno aluvijalnih sprudova uokvireno je niskom obalom. Rijeèni tok praæen je mno�tvom rukavaca, vodastajaæica i ostalih vodenih pojava, koje su u potpunosti oèuvale prirodna obilje�ja rijeke s brojnim biljnim i�ivotinjskim vrstama. U zaobalju rijeke nalaze se povr�ine obrasle �umom raznolikog sastava, od pionirskihvrsta neposredno uz rijeku do udaljenih autohtonih �uma hrasta lu�njaka. Du� rijeènog toka i �umskog rubaprote�u se ostaci tradicionalnog gospodarenja sa slikovito i raznoliko polo�enim oranicama i longitudinalnorasporeðenim manjim grupacijama seoskih naseobina. Sklop ovih prirodnih i kulturnih osobina ostvarujupodruèja izuzetne vrijednosti posebno osjetljivih na sve oblike razvojnih aktivnosti. Zbog toga zahtijevajuuspostavu kriterija njihove sustavne za�tite uz definiranje smjernica i mjera za otklanjanje prisutnih i moguæihnepo�eljnih, negativnih pojava i aktivnosti u ovom specifiènom podruèju.

ENVIRONMENT PROTECTION AND DEVELOPMENT ASPECTS OFRIPARIAN LANDSCAPE PLANNING

SUMMARY

The nearby area of the river Drava from Slovenian border to Ferdinandovac was investigated. This is thearea where the Drava flows through three counties, each of which has different views and plans for protectionand preservation of the Drava�s natural course. We divided this area into two parts: a) the upper river coursefrom Botovo on, the remains of the original river bed together with regulatory interventions; b) lower orplain river course that is completely indigenous, still unaffected and intervention free.Objectives of this research were to determine the landscape natural and cultural values and to indicate possiblesuspected and unsuspected after-effects of reallocated use of this area. Regardless partial improvements ofthe river course, this is still an area of great value. Beside its distant biological and ecological diversity thereis a quite noticeable physiographic activity of the river which adds to the spatial dissimilarities. The researchedsections of the river course are accelerated by the slope while a relatively shallow river is full of smallbackwaters, still waters and other water features that preserve entirely the authenticity of the river with itsvast plant and animal spaciation. The vegetation from initial succession along the river banks to theautochthonous sessil oak wood along the perimeter of the river woodlands can be seen. Along the river flowand at the edge of the woods, the remnants of traditional farming and interesting field patterns interweavewith longitudinally distributed settlements.The combination of natural and cultural values makes this area especially susceptible to nowadays conceptsof development (power plant construction). Consequently, the criteria for high protection level of this valuableriparian landscape should be defined in favour of sustainable land-use systems of this particular area.

Zavod za ukrasno bilje i krajobraznu arhitekturu, Agronomski fakultet Sveuèili�ta u ZagrebuDept. of Ornamental Plants & Landscape Architecture, Faculty of Agiculture, University of Zagreb.

Sveto�imunska 25, 10000 Zagreb, HRVATSKA-CROATIA

ORAL PRESENTATION

257

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