Dragulji Katalog

XX vijek - Dragulji moderne i savremene arhitekture u Bosni i Hercegovini 0
The Commission to Preserve National Monuments of Bosnia and Herzegovina,

in association with CICOP BiH

Gems Of 20th CENTURY
ARCHITECTURE
IN BOSNIA AND HERZEGOVINA

5th International Conference on Hazards and Modern Heritage

Gems of 20
th
century architecture in Bosnia and Herzegovina 1

Commission to Preserve National Monuments

Exhibition catalogue:
Gems of 20
th
century architecture in
Bosnia and Herzegovina

CICOP BH, Faculty of Architecture, Sarajevo,
April 2013

Gems of 20
th

INTRODUCTION

The 2013 exhibition at the Faculty of Architecture in Sarajevo proves to be a
historic event for according value to modern and contemporary architecture in this part
of the world, being the first exhibition designed to bring together in one place the finest
works designed and executed in Bosnia and Herzegovina in the inter-war period and
since, and designated as national monuments.

In the 1918-1939 inter-war period, the social and political conditions conducive to the
development of architecture and urban planning were lacking in Bosnia and Herzegovina. As
a result of historical circumstances, capital investments were directed to other urban centres of
the Kingdom of Yugoslavia. Urban development was not high on the list of priorities of the
authorities of the day, and hence the period may be described as one of relative economic and
cultural stagnation. The activities of vakufs (waqfs) and other public or private institutions
prevented construction work from coming to a complete standstill. This was also a time when
young qualified professionals architects, designers and civil engineers were beginning to
return from the major centres in Central Europe where they had received their training. They
were strongly influenced by neo-Cubism and Modernism, and began to put their ideas into
practice in Sarajevo and elsewhere in Bosnia and Herzegovina. The earliest example of
Modernism in Bosnia and Herzegovina is the Dami House
1
in what is now Radieva St.,
Sarajevo, built to a 1926 design by Helen Baldasar and Duan Smiljani. This pioneering
venture was followed in Sarajevo by a number of buildings designed by the brothers Reuf and
Muhamed Kadi, still identifiable in the urban physiognomy of the city centre, such as the
building of the Vakuf of Hovada Kemaludin (popularly known as the JAT skyscraper, and
the building on the corner of Ferhadija and emalua streets), and the Pension Fund building
2

at the corner of Tito and H. Hume streets.

1
Decision of the Commission to Preserve National Monuments designating the historic building of the Dami
House at no. 10 Radieva St., Sarajevo as a national monument of BiH, rendered at a session held in Sarajevo
in May 2009.
2
Decision of the Commission to Preserve National Monuments designating the historic Pension Fund building
on the corner of Marshal Tito and Hamze Hume streets in Sarajevo as a national monument of BiH,
rendered at a session held in Sarajevo in May and June 2008.
Gems of 20
th

Other notable buildings in the emerging Modernist style were erected in Banja Luka,
where several major public edifices were built (the Banski dvor or government building, the
Palas Hotel, the Teacher Training College, the Sokol Centre, the Public Health Institute and
so on).

There is a noticeable disproportion, as regards architectural design in Bosnia and
Herzegovina during the inter-war period, between the quality of the heritage executed in
the modernist manner and the extent to which it has been studied. Extremely successful
examples of individual housing developments, office buildings, and public, sporting and
health-care facilities in Sarajevo, Banja Luka and other cities have been analyzed and
classified only to a limited extent.

The author who studied this period in greatest depth was Predrag Miloevi
(Arhitektura u kraljevini Jugoslaviji (Sarajevo 1918 -1941), Foa: Prosvjeta, 1997; Mate
Bajlon, arhitekta. Belgrade: Zadubina Andrejevi, May 2007). He produced the most
comprehensive overview, but limited his findings mainly to Sarajevo and the architect Mate
Baylon. Others worthy of mention are ivojin Veki (Braa Kadii pioniri savremene
arhitekture u BiH, Sarajevo: Radio Sarajevo III programme, 1988), ivorad Jankovi
(Muhamed Kadi ivot i djelo, Sarajevo: Academy of Sciences and Arts of Bosnia and
Herzegovina, Bosniac Institute Adil Zulfikarpai Foundation, 2007) and Emir Kadi
(Arhitekt Reuf Kadi i poeci moderne arhitekture u Bosni i Hercegovini, Sarajevo, 2010), all
of whom, from their own particular perspective, have dealt with the life and work of
Muhamed and Reuf Kadi and their designs, again mainly confined to Sarajevo. In 2006,
Sinia Vidakovi published a book in Banja Luka entitled Arhitektura javnih objekata u
Banjaluci (1918 1941), with important documentary material and the initial findings of his
research. The research conducted by the Commission to Preserve National Monuments in
2011 and earlier has revealed that the architectural scene in the inter-war period in
Sarajevo and elsewhere in Bosnia and Herzegovina was vibrant, heterogeneous and full
of creative contradictions.
3

Isidor Reiss, an exponent of the extreme ideas of Modernism, transformed a
historicist building in Marijin Dvor, stripping it of all its decorations, in a manner that he saw
as similar to Modernism. Standing for a creative methodology that, from todays perspective,
appears unacceptable and dramatic, denying the cultural and historical values of earlier eras,
he contributed to the pluralism of expression of the proponents of Modernism in the 1918-
1939 inter-war period in Sarajevo.

A few years earlier, in the late 1920s, the proponents of diametrically opposite
views of architecture had clashed in Prague. The representatives of Cubist
architecture (P. Janak, J. Goar and others), who joined forces as the Club for Old Prague,
claimed that the principles of modern constructivist architecture were inappropriate to the
urban matrix of old Prague; similar views were held by the brothers Muhamed and Reuf
Kadi,
4
pioneers of Modernism in Sarajevo and elsewhere in Bosnia and Herzegovina. In the
opposing camp was the architecture critic Karel Teige, trail-blazer of the radical faction

3
Decision of the Commission to Preserve National Monuments designating the historic building of the Zagreb
Hotel in Sarajevo as a national monument of BiH, rendered at a session held in Sarajevo On 11 March 2011
4
Decision of the Commission to Preserve National Monuments designating the architectural ensemble of the
residential complex at Didikovac in Sarajevo as a national monument of BiH, rendered at a session held from
29 January to 5 February 2008
Gems of 20
th

in the Modern Movement, which favoured the architecture of Adolf Loos and Jan Kotra.
He waged a fierce debate with the members of the Club for Old Prague, claiming that they did
not understand the essence of cubism, and that architecture as construction was dictated by its
purpose and could not endure formalism, but must be governed by rational forms
(ivorad Jankovi. Muhamed Kadi ivot i djelo. Sarajevo: Academy of Sciences and Arts
of Bosnia and Herzegovina, Bosniac Institute Adil Zulfikarpai Foundation, 2007, pp. 35-
40). Isidor Reisss practice in the case of the Zagreb Hotel reveals the powerful influence
of Karel Teige, the architecture critic from Prague.

Muhamed and Reuf Kadi clearly belonged to a faction that was closer to the Club
for Old Prague
5
(yes to Modernism, but not at the cost of demolishing old Prague). Their
Modernist design for the Pension Fund building in the inner city centre in Sarajevo,
6
which
blends harmoniously with the existing historical fabric with its Ottoman and Austro-
Hungarian architecture, implicitly places them among the proponents of Modernism who took
existing historical architecture into account (their work could be described with the phrase:
yes to Modernism, but not at the cost of demolishing or degrading the historic urban matrix of
Sarajevo).

At the same time, there were still some architects who based their architectural poetics
on historicist inertia (Karel Paik St Josephs Church in Marijin Dvor, Sarajevo, designated
as a national monument by decision of the Commission to Preserve National Monuments at a
session held from 28 March to 1 April 2008, and the Church of the Virgin in Olovo,
designated as a national monument by decision of the Commission to Preserve National
Monuments held on 26 October 2010), disregarding the new zeitgeist. Of interest here, too, is
the work of Milan Zlokovi, whose design for the National Bank in Sarajevo was the result of
a compromise with the investors demands, a building in the modernist style with an
admixture of ossified academism (the National Bank was designated as a national monument
by decision of the Commission to Preserve National Monuments at a session held from 1 to 4
December 2009).

It is clear from all this that the creative scene in the 1918-1939 inter-war period in
Bosnia and Herzegovina was much more complex than it might seem at first glance.
Despite the countrys relative economic stagnation, sports facilities, health-care
institutions, alpinists clubs, cinema halls, hotels, government buildings, schools, mixed-use
buildings, detached villas and just about every other kind of building represented in the
developed countries of Europe, including an entire urban development, were built in Bosnia
and Herzegovina during this period. In spite of the sluggish economy, Bosnia and
Herzegovina managed to maintain its connection with contemporary trends in architectural
design.
In terms of numbers, multiple occupancy housing and family houses outstripped
other types of building. These residential properties were designed and built by Baylon,
Lovreni, Reiss, Grabrijan, Pavlin, the Kadi brothers, amanek, Baldasar, Smiljani, Buni,
Dimitrijevi, Moravec,
7
Stjepan Plani
8
and others.

5
The influence of Czech Cubist architecture and the Club for Old Prague was crucial to the creative direction
they took in their work. ivorad Jankovi. Muhamed Kadi ivot i djelo. Sarajevo: Academy of Sciences and
Arts of Bosnia and Herzegovina, Bosniac Institute Adil Zulfikarpai Foundation, 2007, p. 35
6
Decision of the Commission to Preserve National Monuments designating the historic Pension Fund building in
Sarajevo as a national monument of BiH, rendered at a session held in Sarajevo from 26 May to 2 June 2008
7
Predrag Miloevi. Arhitektura u kraljevini Jugoslaviji (Sarajevo 1918 -1941). Foa: Prosvjeta, 1997, p.105
8
Stjepan Plani. Design for the villa of Vladimir Perinovi at Crni Vrh in Sarajevo. Zagreb, 1938
Gems of 20
th

The development of housing estates in the Modernist style in Bosnia and
Herzegovina has not been sufficiently studied. In 2008 the Didikovac housing
development, built after World War II to a design by the Kadi brothers, was finally
recognized as architectural heritage and designated as a national monument (Decision of the
Commission to Preserve National Monuments designating the architectural ensemble of the
residential complex at Didikovac in Sarajevo as a national monument of BiH, rendered at a
session held from 29 January to 4 February 2008).

Work began in the 1930s on the construction of a planned housing development in the
Modernist style in Bosnia and Herzegovina the Crni Vrh housing estate in Sarajevo
(designated as a national monument of BiH by decision of the Commission to Preserve
National Monuments rendered at a session held from 26 to 28 March 2012). Less well known
is another development in the Modernist style in the 1918-1939 inter-war period, the
Workers Settlement in Vare, designed by J. Neidhart in 1939 but not built until after World
War II.

In his book Arhitektura Bosne i Hercegovine
9
the renowned architect Ivan traus
identified seven periods in the development of architecture in Bosnia and Herzegovina in the
latter half of the 20
th
century:
1. 1945-48: the first post-war reconstruction period
2. 1949-58: the key event of this period was the Congress of Yugoslav Architects held in
Dubrovnik in 1950, which called for a complete rejection of Soviet-style socialist
realism dogmas
3. 1959-65: this period saw the economy and culture booming. The rate of industrial
growth in Yugoslavia matched that of the worlds leading economies. In Bosnia and
Herzegovina and Sarajevo this was reflected in the construction of numerous top-
quality social facilities and the promotion of local designers
4. 1966-70: the state-wide ban on investment in building design and construction had
an adverse impact on architectural design, which stagnated, with the exception of
housing and other structures begun before the introduction of the ban
5. 1972-80: aesthetic pluralism, a reaction against architectural uniformity, which had a
major impact on breaking down the dogmas that had prevailed until then, culminating
in the emergence of post-modernism
6. 1981-90: top-quality buildings were designed and erected in Sarajevo for the 14
th

Winter Olympics
7. 1992-1995: a period of stagnation, when many qualified architects, designers and
others left the country to escape the war.
10

Many and diverse buildings were erected during this period, some of which are chefs
doeuvre of Modernism or contemporary architecture. One of the most striking is the History
Museum in Sarajevo, built in 1963 by members of the well-known Zagreb architectural
school, Boris Maga, Edo midihen and Radovan Horvat.

9
Ivan traus. Arhitektura Bosne i Hercegovine 1945-1995. Sarajevo: Oko, 1998.
10
Ivan traus. Arhitektura Bosne i Hercegovine 1945.-1995. Sarajevo: Oko, 1998.
Gems of 20
th

By 2013 the Commission to Preserve National Monuments had accorded
statutory protection to 61 20
th
-century properties, 37 of them built during the Austro-
Hungarian period, 13 in the 1918-1939 inter-war period, and 11 since World War II.
Most of the buildings dating from the inter-war period or since World War II
were built in the Modernist or contemporary style. The properties subject to statutory
protection also include memorial complexes in the Modernist manner inspired by World
War II, along with an industrial complex and two residential complexes.

Gems of 20
th

List of buildings by town or city:

BANJA LUKA
1. The historic building of the Emerich Pascol Villa in Banja Luka; c. 1930; Modernism, 1918-1939
inter-war period residential architecture
2. The historic building of the old Railway Station in Banja Luka (Museum of Modern Art of Republika
Srpska), City of Banja Luka; Austro-Hungarian period railway station
3. The historic monument of the National Theatre of Republika Srpska, Grad Banja Luka; 1918-1939
inter-war period - theatre

BIHA
4. The industrial architectural ensemble of the hydro power plant (the small Biha power plant or Jarak
power plant or Una Canal power plant) at Jarak in Biha; Austro-Hungarian period Industrial complex
5. The cultural landscape of the Garavica Park Memorial to the victims of fascist terror, Biha
Municipality; post-war period memorial complex
6. The historic monument of the Krajinaput building in Biha; FBiH; Austro-Hungarian period
government building

BOSANSKI NOVI/NOVI GRAD
7. The historic building of the Town Gallery in Novi Grad; Austro-Hungarian period exhibition space

BRKO
8. The architectural ensemble of the Islahijet in Brko; Austro-Hungarian period (1902) religious
building
9. The architectural ensemble of the Catholic Church of the Sacred Heart in Brko; Austro-Hungarian
period place of worship
10. The historic building of the Koi House in Brko; Austro-Hungarian period (1907) residential
property

DRVAR
11. The cultural landscape of the 25 May Memorial Complex in Drvar, FBiH; post-war period
memorial complex

JABLANICA
12. The historic site of the memorial complex of the Battle for the Wounded on the Neretva, Jablanica;
post-war period memorial complex

JAJCE
13. The site and remains of the historic building of the Church of the Holy Virgin in Jajce; Austro-
Hungarian period place of worship
14. The AVNOJ Centre in Jajce, with movable property consisting of portraits of Tito, Stalin, Roosevelt
and Churchill; inter-war period (1932) memorial building

Gems of 20
th

KONJIC
15. The site and remains of the historic building of the anti Villa in Borci near Konjic; Austro-
Hungarian period (1902) residential property

MOSTAR
16. The architectural ensemble of the Partisans Memorial Cemetery in Mostar; post-war period
memorial complex
17. The architectural ensemble of the Catholic Church of the Holy Trinity in Blagaj, City of Mostar;
Austro-Hungarian period (1908) place of worship
18. The historic building of the Synagogue in Mostar; Austro-Hungarian period (1904) place of
worship

NEVESINJE
19. The site and remains of the historic building of the Catholic Church of the Assumption of the Blessed
Virgin Mary in Nevesinje; Austro-Hungarian period place of worship

NOVI TRAVNIK
20. The cultural landscape of the necropolis of the victims of fascism, Novi Travnik Municipality; post-
war period memorial complex

ODAK
21. The historic building of the Town Hall (Beledija or Small Council Building) in Odak; Austro-
Hungarian period (1903) government building

OLOVO
22. The historic building of the Church of the Virgin with movable property in Olovo, Olovo Municipality;
inter-war period place of worship (historicism)

PALE
23. The Hadiabanovia Villa in Pale; Austro-Hungarian period (1912) residential property
24. The historic monument of the Orthodox Church of the Dormition of the Holy Virgin in Pale; Austro-
Hungarian period (1909) place of worship
25. The architectural ensemble of the Roman Catholic Church of St Joseph in Pale; Austro-Hungarian
period (1911) place of worship

PROZOR
26. The architectural ensemble of the Memorial on Mt. Makljen, Prozor-Rama Municipality; post-war
period memorial complex

Gems of 20
th

SANSKI MOST
27. The architectural ensemble of the unjar Memorial Complex, Sanski Most; post-war period (1970)
memorial complex
28. The site of the historic building of the 2
nd
ZAVNOBiH Session in Sanski Most; post-war period
memorial building

SARAJEVO
29. The historic building of St Josephs Church in Marinjin Dvor, Centar Municipality Sarajevo; inter-war
period (1935) place of worship (historicism)
30. The historic building of the Zagreb Hotel in Sarajevo, Centar Municipality; inter-war period, Austro-
Hungarian historicist property transformed in the inter-war period (1886/1933)
31. The historic building of the Dami House at no. 10 Radieva St. in Sarajevo; Centar Municipality;
inter-war period (1926) residential property
32. The architectural ensemble of the Vraca Memorial Park in Sarajevo, Novo Sarajevo Municipality; post-
war period (1981) memorial complex
33. The architectural ensemble of the Crni Vrh Housing Development in Sarajevo, Centar Municipality;
inter-war period residential complex
34. The architectural ensemble of the residential complex at Didikovac in Sarajevo, Centar Municipality;
post war period (1947) residential complex
35. The historic building of the mixed-use building of the okadi Sulejman Vakuf in Sarajevo, Stari Grad
Municipality; inter-war period residential property
36. The historic building of the mixed-use building of the Hovada Kemaludin Vakuf (Mekteb) in Sarajevo,
Centar Municipality; inter-war period (1938) residential property
37. The historic building of the Red Cross Society building in Sarajevo; Centar Municipality; inter-war
period (1928) health-care facility
38. The historic building of the National (Central) Bank in Sarajevo, Centar Municipality, with movable
property; inter-war period bank
39. The historic building of the Pension Fund building on the corner of Marshal Tito and Hamze Hume
streets in Sarajevo, Centar Municipality Sarajevo; inter-war period residential property
40. The historic building of the Bank on the Embankment (former Austro-Hungarian bank subsidiary), Stari
Grad Municipality Sarajevo; Austro-Hungarian period bank
41. The historic building of the Stefanija Villa at no. 5 Mjedenica St. in Sarajevo; Austro-Hungarian
period residential property
42. The historic building of the Fire Station in Sarajevo, Centar Municipality Sarajevo; Austro-Hungarian
period fire station
43. The historic building of the Ante tambuk Building in Sarajevo, Centar Municipality; Austro-
Hungarian period mansion block
44. The historic building of the Prosvjeta Serbian Cultural and Educational Society in Sarajevo, Stari Grad
Sarajevo Municipality; Austro-Hungarian period mansion block
45. The historic building of the Provincial Vakuf (Rijaset of the Islamic Community of BiH and Vakuf
Directorate) and the Hadin Ali pasha vakuf in Sarajevo, Centar Sarajevo Municipality; Austro-Hungarian
period residential and office building
46. The historic building of the Bistrik Railway Station in Sarajevo, Stari Grad Sarajevo Municipality;
Austro-Hungarian period railway station
47. The historic building of the Museum of the Revolution (the History Museum of Bosnia and
Herzegovina) in Sarajevo, Novo Sarajevo Municipality; post-war period museum
48. The historic building of the Church of the Holy Trinity in Sarajevo, Novo Sarajevo Municipality;
Austro-Hungarian period (1905) place of worship
49. The historic building of the Musafija mansion block in Sarajevo, Centar Municipality; Austro-
Hungarian period (1913) mansion block
50. The historic building of the Salom mansion block in Sarajevo, Centar Municipality, FBiH; Austro-
Hungarian period (1912) mansion block
51. The architectural ensemble of the Officers Pavilions in Sarajevo, Centar Municipality, FBiH; Austro-
Hungarian period (1914) residential complex
Gems of 20
th

52. The architectural ensemble of the Stari Grad Hotel (former caravanserai of the Gazi Husrev-bey vakuf,
Gazi Hotel) and Kadi residential property, designed by Josip Vanca, in Sarajevo, Stari Grad Municipality;
Austro-Hungarian period (1908) mansion block
53. The historic building of the Jeue D. Salom mansion at no. 20 Obala Kulina bana in Sarajevo, Stari
Grad Municipality; Austro-Hungarian period (1901) mansion block
54. The architectural ensemble of the complex of Austro-Hungarian villas in Petrakijina St (the Mandi
Villa, the Heinrich Reiter Villa, the Hermina Radisch Villa and the Forstrath Miklau Villa) in Sarajevo, Stari
Grad Municipality; Austro-Hungarian period residential complex
55. The historic building of the Girls Grammar School in Sarajevo, Stari Grad Municipality; Austro-
Hungarian period (early 20
th
century) school

TRAVNIK
56. The historic building of the Officers Club in Travnik; Austro-Hungarian period cultural
institution
57. The historic building of the Music School in Travnik; Austro-Hungarian period school

VELIKA KLADUA
58. The architectural ensemble of the Orthodox Church of St George the Great Martyr in Velika Kladua;
Austro-Hungarian period place of worship

VISOKO
59. The architectural ensemble of the Monastery of St. Bonaventura in Visoko with movable heritage;
Austro-Hungarian period religious property

ZENICA
60. The architectural ensemble of the Church of St Elijah and parish hall in Zenica; Austro-Hungarian
period place of worship
61. The architectural ensemble of the former paper factory (Paprina) in Zenica; Austro-Hungarian period
industrial facility

Gems of 20
th

PROPERTYES DECLARED
AS NATIONAL MONUMENTS

Banjaluka
1. The historic building of the Emerich Pascolo Villa in Banja Luka

The Emerich Pascolo Villa in Banja Luka is a fine example of a single-family luxury
home from between the two world wars. In addition to its high-quality accommodation, it is of
notable townscape value, and stands in its own well-designed grounds. Its design reveals the
influence of Modernism, but the rustic decorations on the faades and the shape of the roof
suggest other influences. The property is now derelict and unoccupied, but remains in good
structural condition.

Gems of 20
th

2. The historic building of the old railway station in Banja Luka (the Museum of Modern
Art of Republika Srpska)

The old railway station in the centre of Banja Luka was built in 1891 in the historicist
manner. The neo-Renaissance architectural style is expressed in both the layout of the
building and the way the faades are articulated by elaborate decoration.
The building consists of two side wings and a central range with a prominent main
entrance to the south-east. The central range was originally single-storeyed, but later gained an
attic storey.
The most representative faade of the building is the south-east front, where the main
entrance to the museum is located. The ground floor of this faade consists of five double-
valved doors and 16 arched windows. The entrance section of the central range projects out
from the faade by about 1,7 m. The corners of this section bear decorative blocks with
horizontal joints painted white to imitate stone quoins. The portal consists of three double-
valved doors with overlights.
The main entrance leads into the central hall, which has retained its original
architecture. The layout allows visitors to circulate around the exhibition galleries throughout
the ground floor, in both the central range and the side wings.
The north-west faade originally had a portico with 20 steel pillars carrying a wooden
pent roof with exposed beams, clad with sheet metal. The wings of the building consist of a
basement, ground floor and first floor, with an attic storey part of which can be used.
The building was repaired after the 1969 earthquake that struck the city of Banja
Luka, and was partly converted into office premises. The Banja Luka Art Gallery was founded
by decision of the Banja Luka City Council on 13th January 1971, and the old railway station
building was allocated to the gallery.
Repairs to the railway station began on 22nd April 1980.

Gems of 20
th

3. The historic monument of the National Theatre of Republika Srpska (the King
Petar I the Liberator Memorial Hall, the National Theatre of Vrbas Banate, the
Croatian National Theatre, the National Theatre, the National Theatre of the
Bosnian Krajina, the Krajina National Theatre)

The National Theatre of Republika Srpska was built to a design by Josif Goldner, and opened
in late 1934, when it was known as the King Peter I the Liberator Centre. It originally housed
several cultural facilities, the principal one of which was the theatre. The National Theatre of
the Vrbas Banate was the second national theatre to be founded in Bosnia and Herzegovina,
after that of Sarajevo.
The building occupies a dominant position in the city centre townscape. As the last in the
planned layout of Gospodska and Bana Milosavljevia Streets, the building differs stylistically
from those built previously in that it introduces Bauhaus and functionalism elements into the
architecture of the urban block, and is thus regarded as a pioneering example of this kind of
architectural design in Banja Luka. The contradictory nature of its architectural expression and
urbanistic precept renders it a rare example of architectural and urbanistic activity during the
modernist period: though it has features of the international style based on the principles of
detraditionalizing architecture and decentralizing the city, it is not a modernist but rather an
eclectic building, with elements of historicism and national revival. As a result, its architecture
combines almost irreconcilable elements. The architect expressed understanding and respect
for the existing traditional structure and the need for enhancing the city centre in his urbanistic
precept, thereby providing a further interpretation of the emergence of the modernist concept.

Gems of 20
th

Biha
4. The industrial architectural ensemble of the hydro power plant on the Jarak in
Biha (the small Biha hydro plant, also known as the Jarak hydro power plant
or the Una Cana hydro power plant)

The property is a very rare surviving example of the industrial heritage from the
Austro-Hungarian period in Bosnia and Herzegovina. It is an example of a diversion hydro
power plant, which channels water to the power house through a derivational gravity flow
penstock with an overall length of about 1000 metres. A feature of this industrial facility that
is unquestionably of major interest, and perhaps unique, is that the bed of an old mediaeval
moat (jarak) originally designed for defence has been used as part of the infrastructure to
conduct the power source, water, the kinetic and potential energy and pressure of which turns
the turbines to generate electricity. All the plant and machinery was located so as to fit
unobtrusively into the setting, without compromising either the townscape of the old town
centre or the natural surroundings. Work began on the construction of the hydro power plant
in 1911 and was completed in 1912, along with the city supply network. The electricity
generated was used mainly for street lighting in Biha, which had a population of 8374 at the
time. The power plan had two Francis turbines with an installed capacity of 2x87 kW. The
building works were carried out by the Jonas and Snell companies of Vienna, the turbines,
regulators and hydropower machinery were manufactured and installed by Andritz of Graz,
and the electrical equipment with generators was manufactured and installed by A.E.G.Union
of Vienna. The power plant remained in constant operation until 1943, when it was badly
damaged, and was started up again in October 1945.

Gems of 20
th

5. The cultural land scape of the Garacica memorial park of the victims of the
victims of fascist terror

The Garavica memorial park of the victims of fascist terror is one of twenty-one
memorials designed by Bogdan Bogdanovi, one of South-East Europes most brilliant
designers of memorial architecture in the former Yugoslavia, which form part of his oeuvre.
He makes use of the universal symbols of the sun, planets and moon to create monuments that
become an organic part of their setting.
The monument commemorates the atrocities committed in 1941 by fascist forces
against the people of the Biha region, and in particular its Serbs and Jews, during which
several thousand people some sources say 7,000, others as many as 12,000 were murdered.
It consists of fifteen identical sculptures in two groups, one of thirteen and the other
of the remaining two, with paths and a terrace following the contours of Garavica hill, leaving
as much greenery as possible.

Gems of 20
th

6. The historic monument of the Krajinaputevi (Krajina Roads) building in Biha

The former Office of Civil Engineering in Biha was built in 1916 to a design by the
Austrian architect Ludwig Huber. The Department of Construction of the Provincial
Government in Sarajevo was the Austro-Hungarian authority responsible for the construction
of public edifices and infrastructure in Bosnia and Herzegovina. Its headquarters was in
Sarajevo, but it had regional offices in several towns around the country, including this one in
Biha. Like many public buildings, it was designed in the Renaissance revival style typical of
Habsburg buildings throughout the Dual Empire. The main faade of the building is
particularly well preserved.

Gems of 20
th

Bosanski Novi/Novi Grad
7. The historic building of the Town Gallery in Novi Grad

The Town Gallery building, on present-day Karaora Petrovia St., in the centre of
Novi Grad, is an example of public administration architecture of the Austro-Hungarian
period. Its significance lies in the fact that few such buildings of the period survive in the
inner urban zone. The building is in the historicist style. Its current architectural appearance
and historical data suggest that it was built at the end of the 19
th
centuray.

Gems of 20
th

Brko
8. ThearchitecturalensembleoftheIslahijjetinBrko

For Brko, the establishment of Austro-Hungarian rule in Bosnia and Herzegovina
marked the start of rapid development, in which the town was strongly influenced by Habsburg
architecture and culture. By the end of the 19
th
century the layout of the town had been
transformed, with streets laid out orthogonally replacing the organically-shaped mahalas and
arija. The old separation between residential and business quarters was replaced by
buildings combining both functions, with shops on the ground floor and flats above.
One example of this new kind of architecture and urban layout is the commercial
centre of the quarter known as Kolobara, a group of private residential-cum-commercial
buildings erected by a businessman by the name of Mehmedaga Kantardi. Particularly when
seen from the right bank of the River Brka, the group forms a landmark in the townscape. It
consists of the Islahijjet centre and four residential properties with storage facilities.
From the architectural perspective, the Islahijjet (built in 1912) dominates the group
as regards the formal treatment of the plot, and is one of the most important surviving
buildings associated with the cultural and educational life of the Muslims of Brko.

Gems of 20
th

9. The architectural ensemble of the Catholic church of the Sacred Heart of Jesus in
Brko

The church of the Sacred Heart of Jesus in Brko is the only Catholic church in Brko
town. Work began on building the first Catholic church in Brko in 1883 and was completed
in 1885. It was badly damaged, along with the parish hall, in World War I, and in 1933 a new
church was built to a design by Karel Paik, one of the leading architects of historicism in the
architecture of Bosnia and Herzegovina in the late 19
th
and early 20
th
century. The historicist
approach is to be seen in the articulation of the faades and the form of the openings, with
original features in the form of certain details. This building, with its plastered faade, is
decorated with more elaborate mouldings than any of Paik's other buildings of this period in
Bosnia and Herzegovina.

Gems of 20
th

10. ThehistoricbuildingoftheKoiHouseinBrko

The earliest reference to Brko or more accurately Brki in the documents from the
Ottoman period dates from 1620, in one of descriptions of the Bosnian pashaluk (district under
Pasha's authority). Brko was a part of the Tuzla kadiluk (county - area under authority of
kadija judge), i.e. zvornik sandak (district). It was a settlement of mainly ferrymen, rafters,
and boatmen at the mouth of brka river to the sava river. Brko had a significant geo-strategic
position between the Ottoman Empire and the Austro-Hungarian Kingdom. Between 1740 and
1840 Brko became economical and political center of the area of Bosnia around the Sava
river. Many military and administrative buildings were erected, as well as many commercial
and trade shops, hans (inns) and residential buildings. At the Berlin Congress, in July 1878,
Austro-Hungary got permission from the other European super-powers to annex Bosnia and
Herzegovina. The Austro-Hungarian troops entered Brko on 17 September 1878. Newly
established Austro-Hungarian authorities introduced in Bosnia and Herzegovina new
capitalistic way of economy and new way of building that favored multistory buildings with
business premises on the ground floor and residential quarters at the upper floors. Construction
was done with solid materials (bricks) according to the new regulations. Brko was electrically
lit in 1899. City planning and architectural development of Brko was modern. 18 schools of
various purposes were also built. Residential building Koi house is the house of the Austro-
Hungarian mansion type. It was built in the same eclectic pseudo-Moorish style as the Brko
Town Hall. It is characterized with use of rich ornaments and decorative-plastic elements at the
facades. The building was finished in 1907, as it is visible at the inscription above the building
entrance door. The Koi house is a freestanding building with ground floor and upper floor.
The basic construction elements are the walls, and the construction material is a brick.
Construction between the floors is wooden. Roof is a four-slope roof with classical wooden
construction covered with tiles. Areas with alternating light and dark bends are visible at the
faade, which is characteristic common to almost all the buildings of the eclectic style.
Window apertures at the upper floor end with a horseshoe arch. Entrance portal is placed at the
middle of the southeastern faade. The portal is rectangular, with double wooden door of
massive wood and with light over the door. The ground and the upper floor flats were arranged
in a manner characteristic for residential buildings of the period. There are two identical four-
room flats.

Gems of 20
th

Drvar
11. The cultural landscape of the 25 May Museum memorial complex in Drvar,
Municipality Drvar

The cultural landscape where the 25 May Museum now stands in Drvar is a memorial
complex associated with the seventh enemy offensive of May and June 1944, which was
intended to annihilate the Supreme Command of the Yugoslav Peoples Liberation Army. In
its objectives, the number and diversity of troops involved, and its tactics, this was an
extraordinary affair, one of the most extraordinary undertakings by the German armed forces
during World War II. The complex includes the Museum that, since its formation in 1945, has
been engaged in gathering, cataloguing and presenting material associated with World War II.
Its work is important for the study of Bosnia and Herzegovinas anti-fascist history, and indeed
for that of the whole region. Though most of the museum exhibitions (7000) were removed,
destroyed or burnt during the 1992-1995 war, the site is of great symbolic and historical
importance.

Gems of 20
th

Jablanica
12. The historic site of the memorial complex of the Battle for the Wounded on the
Neretva in Jablanica

The historic landscape in which the Museum of the Battle for the Wounded or Battle
of the Neretva in Jablanica is located is a memorial complex associated with the fourth
offensive, an event that took place in February and March 1943, during which troops from the
Yugoslav People's Liberation Army rescued more than 4,000 sick and injured despite the
concerted attacks by Axis forces. The site is of great symbolic and historic significance, now
including the architectural ensemble of the Museum of the Battle for the Wounded or Battle of
the Neretva in Jablanica, consisting of the memorial complex of the Museum building (an
example of modern architectural design) and its exhibits. The memorial bridge is the main
museum exhibit, testifying to the specific tactics of Partisan warfare and to a World War II
battle that, more perhaps than any other, was waged for humanitarian reasons. The museum
itself, designed by architects Branko Tadi, Zdravko Dunerovi and Mustafa Rami and
regarded at the time as a major example of modernist brutalism, was opened on 12 November
1978 to mark the 35th anniversary of the Battle of the Neretva.

Gems of 20
th

Jajce
13. The AVNOJ Centre in Jajce

Construction of the building began in 1932 and was completed in 1934 for the Sokol
society of Jajce. In 1942 the building was set on fire, and a year later, just before the historic
session of the Antifascist Council of the National Liberation of Yugoslavia, it was renovated,
to the orders of the Supreme Command, by the architect iva orevi. The famous artist
ore Andrejevi kun worked on the interior. It was in this building that the Second Session of
the Antifascist Council of the National Liberation of Yugoslavia (AVNOJ) was held on 29 and
30 November 1943, attended by 142 councillors representing BiH, Croatia, Serbia,
Montenegro, Macedonia and Slovenia, who renounced some elements of sovereignty to create
a federal state. At the same session a Resolution was passed to construct Yugoslavia on
federal principles with the full equality of all its nations and nationalities, which marked the
completion of the creation of the Yugoslav state authorities. The building was again renovated
in 1947 and 1953. The Museum of the Second AVNOJ Session was founded in 1953 as a
central Yugoslav museum memorial institution to study, gather, preserve, display and publish
historical material directly and more broadly relating to this historic session and the matters it
dealt with. Parts of the building were converted for the purpose of displaying and housing the
museum material. The Museum's first permanent exhibit was opened on 18 February 1959,
and later certain additions were carried out. In addition to the central building where the
AVNOJ session was held, the Museum had another two buildings: a building in the park,
where documents, photographs, maps and other materials giving a more comprehensive picture
of the evolution of the national government during the NOR were displayed, and a small
gallery, opened in 1963. The building suffered significant damage during the war in Bosnia
and Herzegovina, and the Museum's holdings have been looted by a person or persons
unknown; there is some evidence to the effect that some very valuable exhibits and works of
art owned by the Museum can be found in certain western European countries and BIH's
neighbouring countries. The whereabouts is known only of four paintings by Boidar Jakac
the portraits of Tito, Stalin, Roosevelt and Churchill which are currently in the Franciscan
Monastery in Jajce.

Gems of 20
th

14. The site and remains of the historic building of the church of the Most Holy Mother
of God in Jajce together with movable heritage items consisting of five icons from the
iconostasis

The Orthodox church of the Most Holy Mother of God is located outside city walls, in
new part of Jajce, to the northwest of Banja Luka city gates. Construction of the church started
in 1930 and it was completed by the end of 1935. Church project was done by architect Milo
Miloradovi from Sarajevo. In 1939, four new bells were purchased in Zemun. One of these
bells was a gift from Jajce Catholics. On July 16, 1939, Zagreb Metropolitan, Mr. Dositej,
performed santification of church-bell. During the II world war, 1941, Ustashas killed several
hundreds of Serbs in this church. During the war period from 1992 to 1995, the church was
totally destroyed by mining. The building is constructed in historicist manner. Spatial complex
and decorative elements indicates that the constructer chose Serbina-Byzantine style,
preferred by one number of Serbian architects during the period of the third and fourth decade
of 20 century. Therefore, essentially, the construction indicates taking example of the vaulted
type of Raka construction, while in realization of facades, through alternatively set horisontal
lines of tuff and walls coated with mortar, it follows the courses of morava school of
construction. The Church of the Most Holy Mother of God in Jajce was single-nave church,
with priprat altar and five-sided altar apse located in the eastern side. The apse was
semicircular from the inner side. Church-tower has square base and it is located in the eastern
part of the construction. By one of its sides it partly rests on a wall mass of the construction,
while it is supported by two strong pillars from the other side, which are square-shaped in their
base. The church used to have a line of different typs of decorations consisting of very
complex and strong cornices, archivolts, columns, pilasters (for-sided column, rested on the
wall by one side, or built in the wall by one of its sides) and other minor ornaments. All
horisontal cornices were very prominent, and especially roof cornice. The roof was covered
with saddle roof, with copper sheet used as roof covering. The most valuable thing in this
church was hand-made iconostasis made by master craftsman Hajrudin Krlak, carpenter from
Jajce. Iconostasis that was carved wood, was richly decorated with motives of folk art of Janj.
Some of folk motives from the surrounding area of Jajce were selected by Priest Ilic himself.
Paintings made at iconostasis are made by Macedonian painter Lazar Liinski from Skoplje
and they were made in 1935.

Gems of 20
th

Konjic

15. Site and remains of the historic building of the anti villa in Borci near Konjic

In 1902 Baron Benko, Governor of Bosnia and Herzegovina, built a villa in the
village of Borci, near Konjic, selling it to the anti family in 1910. The renowned poet
Aleksa anti moved into the house in 1913, when the Austro-Hungarian authorities banished
him from Mostar as a political undesirable. The author Svetozar orovi, a relative and good
friend of antis, also stayed in the villa for a time. After World War I the villa was sold to
the Mostar Health Centre. It was used as a Partisan hospital in World War II, when it was set
on fire by German troops. The Forestry Ministry of Bosnia and Herzegovina rebuilt it after the
war.
The academic painter Lazar Drljaa lived in the villa from 1931 until his death in
1970. He was buried, in accordance with his wishes, in a glade near the villa. The villa was
vandalized during the 1992-1995 war.

Gems of 20
th

Mostar
16. The architectural ensemble of the Partisans' Memorial Cemetery in Mostar

One in three residents of Mostar (6000 in all) took part in the War of National
Liberation, and more than 750 were killed, as were more than one thousand other victims of
fascism. In 1959 architect Bogdan Bogdanovi was asked to design a memorial cemetery in
Mostar, which was formally opened on 25 September 1965 by Josip Broz Tito. The Memorial
Complex in Bijeli Brijeg consists of an entrance area, an informally laid-out central area with
streams and paths, a circular fountain with still water, and a raised central area with terraces
and access ramp. The amorphous, organic shapes of the walls run through the entire site of the
memorial, intermingled with greenery and water. The central feature on the seventh and
highest terrace is a fountain, from which there is a view of the entire complex and the
surrounding town. The architect described the monument as Mostar in little, a replica of the
city on the Neretva. The Partisans' Memorial Cemetery is also a monument to the townscape.
The natural surroundings of the complex consist of thickets of indigeneous trees and shrubs
with cypresses and alpine pines.
The Partisans' Memorial Cemetery was badly damaged in the spring of 1992. In 2005
the monument was cleared and repaired, with reconstruction where necessary, and the planting
was restored.

Gems of 20
th

17. Architectural ensemble of the Catholic Church of the Holy Trinity in Blagaj

Two churches were built in Blagaj during the Austro-Hungarian period the
Orthodox church dedicated to St Basil of Ostrog in 1892, and the Catholic church of the Holy
Trinity in 1908.
The parish of Blagaj was founded by Bishop Fr. Pakal Buconji of Mostar in 1891,
and the parish church was built by a Bosnian friar, Ivo Boi, a member of the Franciscan
province of Herzegovina.
The church belongs to the type of single-aisled rectangular church with bell tower.
Lying slightly off the true east-west orientation, it measures 22.29 m in length and 11.68 m in
width. It consists of a narthex, nave and sanctuary, with a sacristy to the south. The choir
gallery along the west (entrance) wall, at a height of about 4 metres, is reached via the wooden
staircase that also provides access to the bell tower.
The entrance to the church is further accentuated by a rectangular projection, without
decoration. The year when the church was built is carved in the centre of the portal, above the
plain entrance door.
The roof of the bell tower is unique in Bosnia and Herzegovina. It is essentially a
flat-roofed tower, but with an extremely complex structural design executed in reinforced
concrete, creating a very unusual form. The bell tower was built onto the church in 1933.
The church is neo-Romanesque in style, its faades displaying neo-Romanesque
decorative elements, particularly the blind arcades below the barely accentuated roof cornice.
The side walls are accentuated by roof projections without decoration.

Gems of 20
th

18. The historic building of the Synagogue in Mostar

The Synagogue or Temple is in Brae iia street, no. 15, in the Brankovac
neighbourhood of Mostar. According to a Jewish almanach for 1928/29, there was already a
synagogue in Mostar in 1889, which had become too small, so it was decided to build a larger
one. A record of the erection of the synagogue with full documentation was drawn up on 7
June 1904. During World War II the Synagogue was partly demolished. In 1952 the Jewish
Community of Mostar, unable to protect the synagogue from further deterioration, gifted it to
the city of Mostar. A Puppet Theatre was housed in the building.
Stylistically, this religious building belongs to the very early stages of the pseudo-
Moorish expression, often used when building Jewish synagogues in the late 19th and early
20th century. The Synagogue in Mostar is a rectangular building with a centrally placed apse,
lying east-west. The walls are of brick. There is a portal and two pairs of elongated arched
windows in the west facade. The windows at ground floor level are rather larger than those at
upper floor level. The building terminates in a cornice. There is a frieze on the frontispiece of
the building decorated with stylized ribbing of the type seen in north Africa. The frontispiece
also has three stone obelisks. The Jewish scriptures, open to show a Hebrew text on Moses'
tablets of stone, are shown below the cornice.
The interior of the building consisted of three sections: the apse, the central are and a
smaller antechamber. There were two galleries, against the north and the south walls. There
was a spacious courtyard outside the main entrance to the building, with a lime tree. Here,
during the Jewish festival of Yom Kippur, the Jews made roofless huts of brushwood and
leaves, which has a symbolic meaning for the Jewish people that of the transience of life and
wealth. Part of the scriptures from the faade of the building is now on display in the
courtyard.

Gems of 20
th

Nevesinje
19. The site and remains of the historic building of the Catholic Church of the
Assumption of the Blessed Virgin Mary in Nevesinje

The parish of the Blessed Virgin Mary in Nevesinje was founded by the Franciscans
in 1899, when the parish house was built. The parish church was built between 1901 and 1903.
Architecturally it displayed neo-Romanesque features. In order to build the parish house, the
house of the Baagi beys was purchased in 1871; they were then granted a papal medal.
Nevesinje was the largest Catholic parish in Herzegovina. The Catholic church of the
Assumption of the Blessed Virgin Mary in Nevesinje was dynamited and completly destroyed
in 1992.

Gems of 20
th

Novi Travnik
20. The cultural landscape of the necropolis of the victims of fascism, Novi Travnik

The necropolis of the victims of fascism in Travnik is one of the twenty-one
monuments in the former Yugoslavia designed by Bogdan Bogdanovi, and is an essential part
of his opus. Bogdan Bogdanovi, one of the most highly-renowned and successful designers of
memorial architecture in south-east Europe, uses the universal symbolism of the sun, planets
and moon to create monuments that become an integral part of their setting.
The necropolis of the victims of fascism in Travnik was built in 1975 in memory of
the 700 victims of fascist terror in 1941. It consists of twelve conceptually identical sculptures
arrayed in two irregular arcs, steps with terraces, and an unpaved plateau.

Gems of 20
th

Odak
21. The historic building of the Town Hall (Beledija or Mala vijenica Small Town
Hall)

Beledija means the administrative seat of a territorial unit. The Beledija or Small
Town Hall in Odak, which was completed in 1903, was designed in the eclectic Pseudo-
Moorish style, characterized by a wealth of ornamentation and decorative mouldings on the
faades, modelled on those of north africa and moorish spain.
The Town Hall is an irregular rectangle in plan, measuring 22.30 x 13.30 m, and has a
basement, ground and first floor. The basic structural components are walls and arches, built
of brick and stone, with steel profiles for the steps and ceiling joists. The gabled roof was of
classic timber construction and clad with tiles.
The ground floor is demarcated from the first floor on the faade by a cordon string
course. The single-light ground-floor windows are rectangular and square-headed, while those
of the first floor are horseshoe-arched, a common feature of the pseudo-moorish style. Also
typical are the double interlace mouldings around the windows and entrance doorway, and the
painted arabesque decoration forming a continuous band of stylized floral ornaments. A
particularly interesting feature is the balcony on the corner of the south faade, with a railing
consisting of four pillars and a decoration of yolnay pottery rosettes.

Gems of 20
th

Olovo
22. The historic building of the church of Our Lady in Olovo

The church of Our Lady in Olovo is a major pilgrimage church in Bosnia and
Herzegovina in the context of the Franciscan tradition. The present-day church was designed
by architect Karel Paik in 1925. In the 1980s the church windows were replaced by stained
glass windows by the painter Slavko ohaj, who also signed the collection of icons of the
Stations of the Cross. The church also includes a censer, a wooden statue of the Virgin, and a
valuable altar painting

Gems of 20
th

Pale
23. The Hadiabanovi Villa in Pale

The Hadiabanovi Villa is situated in the locality of Gornje Pale Koran, Pale
Municipality. The Villa was built in 1912, during the Austro-Hungarian period, as a solidly
built two-storey structure, by the Sarajevo merchant family of Hadiabanovi to a design from
August Tabory's carpentry workshop in Sarajevo. It remained in private hands until 1946,
when it was nationalized. The Villa is now owned by Pale Municipality.
The current state of the building is substantially different from August Tabory's
design. The appearance of the entire building was probably altered during later refurbishment
(major works were undertaken in 1936), with much simpler facades lacking woodwork detail
but with new elements interpolated and more complex roof panels. The building has two
prominent turrets. The western wing of the building was added in 1936.

Gems of 20
th

24. The historic monument of the Orthodox Church of the Dormition of the Mother of
God in Pale with movable property

The Church of the Assumption of the Mother of God was built in 1909, during the
Austro-Hungarian period. It belongs to the type of single-aisled, centrally planned square
building with a five-sided apse at the south-east end, a bell tower at the north-west end, and
choirs on each side. Built of brick and stone, the church is of modest size, and reveals the
influence of the Serbo-Byzantine style of church architecture. The church was designed by the
artist LazarDrljaaofBosniaandHerzegovina,whoseonlyexecutedarchitecturaldesignthis
is. The building of the church marked the start of the development and construction of Pale
Municipality, with the church imposing some of the basic guidelines for the development of
the urban matrix. Despite damage during World Wars I and II, the church has retained much of
its original appearance.
The churchyard contains a Memorial to the Victims of World War I, erected in 1926.

25. ThearchitecturalensembleoftheCatholicchurchofStJosephinPale

About thirty wooden churches of Orthodox provenance are still extant in
Bosnia and Herzegovina, but there is reference to only one Catholic wooden church St
Josephs Church in Pale.
It was built in the Old arija or Male Pale in 1911 in the alpine style, entirely of
wood, by Austrian engineers for their own use, and was consecrated on 9 July 1911.
In layout it belongs to the type of single-aisled church, rectangular in plan with a
polygonal apse and a bellcote over the entrance front. It measures 17 x 8 m on the outside
including the apse, or 12 x 8 m without the apse. The walls, which are about 4 m high to the
base of the vault, or 7 m to the apex of the vault, were built of substantial logs with thin
wooden slats between. The ceiling consists of a vault supported by the side walls and covered
by a saddle roof. The most striking feature of the building is the entrance front, with its central
portal covered by a gabled roof resting on pillars, above which is a tripartite window. The
pillars rise to support the roof gable. The whole is surmounted by a baroque bellcote.
Gems of 20
th

Daylight enters the spacious, well-lit interior through windows in the side walls
three to the north-west and two to the south-east. The choir gallery is above the entrance area.
The wooden confessional beside the entrance is unusually elaborately decorated, particularly
the double doors, decorated with floral motifs. The entrance to the sacristy is in the south-east
wall. There is a single row of pews.
St Josephs Church has two altars the high altar and a small altar. The high altar, at
the south-west apse end of the church which is two stone steps higher than the body of the
church is dedicated to the patron saint, St Joseph. The apse is. The altar, which is entirely of
wood, stands on an elaborately moulded chest. It consists of three parts the altar mensa, the
predella and the tabernacle.
The south-east side wall of the church is decorated with reproductions on paper of the
fourteen Stations of the Cross. The original altar statues the Blessed Virgin Mary with Jesus,
St Joseph with Jesus, and St Anne with Mary are kept in the space below the stairs.
The church vestments or chasubles are of very expensive make. Two of them bear
the label of the Felinger-Halinger makers of Vienna; the others have no labels. These
vestments, which are no longer used, having been replaced in the 1960s, are now kept in the
sacristy.

Gems of 20
th

Prozor

26. The architectural ensemble of the Monument on Mt Makljen

The monument on Mt Makljen is dedicated to the battle for the wounded that took
place in 1943. It is a fine work of sculpture in the regional and the international context. The
monument sculpture, the work of the artist Boko Kuanski of Bosnia and Herzegovina, was
created to commemorate a major event in the anti-fascist war of liberation. Boko Kuanski is
one of Bosnia and Herzegovinas greatest 20th century artists. A full-time professor at the
Faculty of Dentistry and part-time professor at the Fine Arts Academy of the University of
Sarajevo, he has received many awards and accolades for his art over 60 in all, including the
Sixth of April Award of the City of Sarajevo (1971), the Grand Prix at the 2nd Biennale
internationale de la petite sculpture in Budapest, the Award of the Association of German
Artists (1987), and the Grand Prix at the Collegium Artisticum/Artists' Association of Bosnia
and Herzegovina exhibition in 2001. He is a full member of the Academy of Sciences and
Arts of Bosnia and Herzegovina and of the UNESCO Association Internationale des Arts
Plastique. In terms of style, the form, concept and materialization of the monument embody
the principles of Modernism as well as of contemporary monumental architecture. The
monument also consists of the access paths and natural surroundings of meadows and clumps
of trees.

Gems of 20
th

Sanski Most

27. The architectural ensemble of the unjar Memorial Complex, Sanski Most

The Memorial Complex is 1 km from Sanski Most, on the southern slopes of the
unjar Heights, near an old Orthodox, Catholic and Jewish cemetery.
The bodies of 27 Serb civilians shot by the Germans on 8 May 1941 were buried
where the Memorial Complex now stands. At unjar later that year, on the Orthodox feast of
Ilindan (St Elias' day) in August, German troops executed Serbs from the town and its environs
who had gathered there. The exact number of victims has never been determined.
The initiative to erect a memorial to those who were executed was first mooted in
1968/69, when a Committee to build the memorial complex was formed. One contentious issue
was whether the complex should be dedicated to all war victims, or only to those who were
killed at unjar. The decision was to erect a monument to the victims of fascist terror and to
the combatants of the nor [War of National Liberation] of the town of Sanski Most and its
environs. The main design for the complex was produced in Sarajevo in 1970 by TP Bureau
for studies and design to a concept by academic sculptor Petar Krsti. Once the complex was
built, a cultural event was held there every year on 2 August, when literary works by poets and
writers from all over Yugoslavia were read. The unjar Memorial Complex consists of an
entrance area, a memorial park with mounds and paths, and a raised central area with an
obelisk.
The central feature of the complex is the 15-m high obelisk, consisting of a steel
frame clad with thin aluminium plates and standing on a platform paved with concrete slabs.
The obelisk, which is surrounded by tubular concrete seating, is of irregular shape and,
according to its designer, symbolizes the life and suffering of the people of these parts. The
entire site was fenced, and trees were planted around the edges. Numerous alterations were
made to the complex during the 1992-1995 war.

Gems of 20
th

28. The site of the historic monument of the building where the 2
nd
session of
ZAVNOBiH was held in Sanski Most

ZAVNOBiH (the Provincial Anti-Fascist Council of the Peoples Liberation of
Bosnia and Herzegovina) was the supreme organ of state of the anti-fascist movement in
Bosnia and Herzegovina in World War II, and the standard-bearer of Bosnia and
Herzegovinas statehood. The 2nd session of ZAVNOBiH, held in Sanski Most from 30 June
to 2 July 1944, was one of the most significant events in the history of Bosnia and
Herzegovina. Three sessions of ZAVNOBiH were held in all, the first in Mrkonji Grad on 25
November 1943, the second in Sanski Most, and the third in Sarajevo on 26 April 1945. The
building where the 2nd session of ZAVNOBiH was held in Sanski Most (originally known as
the Sokol Centre and later as the Partisans Centre) was left in ruins in 1995 as a result of the
war, and the remains were removed in 1996.

Gems of 20
th

Sarajevo
29. ThehistoricbuildingofStJosephschurchinMarijindvorinSarajevo

The initial design of St Joseph's church by Karel Paik was based on the design for a
neo-Romanesque church given to Archbishop Ivan [ari by Pope Pius XI. Work began on the
construction of church in 1936, and the building was consecrated on 31 March 1940.
In plan the church is a triple-aisled basilica with transept. Below the sanctuary is a
crypt with the tomb of Archbishop Ivan [ari. There are a further fifteen tombs in the south,
west and east walls of the church.
In 1939 the church was painted by Josip Podolski, and the original stained glass
windows were designed by Ivan Marinkovi. The stained glass at the west end and in the apse
was destroyed by an explosion in 1945, and later restored. The high altar of St Joseph and the
terracotta Stations of the Cross were a gift from Pope Pius XII. The sculptor Franjo Rebhan
carved the side altars and the tombs in the crypts.
The church was damaged during the 1992-1995 war, after which it underwent
structural repairs and conservation and restoration work on the murals and stained glass.

Gems of 20
th

30. ThehistoricbuildingoftheZagrebHotelinSarajevo

The historic building of the Zagreb Hotel in Sarajevo is of considerable townscape
and documentary value in the streetscape of Tito Street and Marijin Dvor. It was built in the
early stages of the Austro-Hungarian period in the historicist (neo-Romanesque) style. It
underwent a major transformation in the inter-war period, when champions of modernism in
Sarajevo stripped it of its historicist decorative elements to bring it into line with the aesthetic
ideas of the day. Though such actions are now seen as unacceptable treatment of the
architectural heritage, some of the buildings that were altered in this way are of great historical
and documentary value relating to the modernist de-traditionalization of historic buildings,
and as such attest to historical complexity and constitute an integral part of the urban history of
central Sarajevo.

Gems of 20
th

31. The historic building of Dami House at no. 10 Radieva Street

The Dami house at no. 12 Radieva Street in Sarajevo was designed in 1926 by the
noted architects Helen Baldasar and Duan Smiljani, who were working in Sarajevo in the
first half of the 20
th
century. This historic building is one of the first to be built in Sarajevo
between the two world wars that reveals the influence of Modernist ideas, combined here with
Art Deco elements to create the distinctive character of Modernism.
A feature of this property of particular value is that the design and colour scheme of
the frontispiece are original: no conservation and restoration works or even routine
maintenance works have ever been carried out on the faades, and the original frontispiece is
very well preserved. The same is true of the interior, which is largely original and in a good
state of preservation.
The inner courtyard contains a building where alcoholic beverages were sold, the
original form and exterior dimensions of which have been preserved.

Gems of 20
th

32. The architectural ensemble of the Vraca Memorial Park in Sarajevo

More than 12,000 people were killed in Sarajevo during World War II almost one in
seven of the population. The fort built in the late 19th century at a place known as Vratca
(denoting a narrow gateway leading into the town) became a killing field, where the people of
Sarajevo were killed individually or in mass executions, and buried there, along with most of
the prisoners killed or who died under torture in police custody.
The Vraca Memorial Park was laid out as a memorial to the victims of fascist terror
and to the Yugoslav Army troops who, with the help of the people of the city, liberated
Sarajevo on 6 April 1945. The memorial park, designed by Vladimir Dobrovi, the sculptor
Alija Kuukali and the landscape artist Aleksandar Maltari, was opened on 25 November
1891, Bosnia and Herzegovina Republic Day.
The central feature of the complex is the Memorial to Fallen Soldiers, with the names
of the 2,013 soldiers from the National Liberation Army who were killed, carved on a granite
prism. About 16,000 combatants from the city of Sarajevo and its environs were in the
Yugoslav Army, 2,039 of whom were killed, including 26 national heroes. The mausoleum to
the 26 national heroes of the City of Sarajevo, built in 1949, was transferred from its original
location in the Great Park to the Memorial Park.
The fort housed an exhibition of Witnesses to the Battle for Sarajevo, and the walls of
the atrium are lined with the names of 9,091 victims of fascist terror, 1,100 of whom were
children. The display consisted of more than 750 exhibits, most of them the property of the
Museum of the Revolution (now the History Museum of Bosnia and Herzegovina).
Given its unique strategic position, the Vraca Memorial Park was used as the site
from which Sarajevo was bombarded with heavy artillery and sniper fire during the 1992-1995
war, when the entire complex was left in ruins and the exhibition of Witnesses to the Battle for
Sarajevo was completely destroyed.

Gems of 20
th

33. The architectural ensemble of the Crni Vrh development in Sarajevo

The architectural ensemble of the Crni Vrh development in Sarajevo is the only estate
built to plan in Sarajevo between the two world wars. In the spirit of the modern movement, it
was financed by the Railway Workers Loans and Aid Cooperative, founded in Sarajevo in
1923, and the Housing Association, founded in 1925, with the aim of alleviating the social
deprivation of railway workers. The master plan for Crni Vrh parcelled the site into 93
building plots. The various buildings were designed by leading representatives of the modern
movements in what was then the Kingdom of Yugoslavia: Duan Smiljani, Franjo Lavreni,
Bruno Tartalja, Danilo Kocijan, Franc Novak, Mate Bajlon and Stjepan Plani. The estate
includes the villa in which Mate Bajlon lived. The planned layout of the estate is largely
preserved, and a further feature of the estate is that the master plan was followed in later works
after World War II.

34. The architectural ensemble of the housing complex at Didikovac in Sarajevo

After World War II, the focus was on the restoration of existing buildings and the
construction of new ones in which architecture as creative design took second place. Despite
this, the Kadi brothers designed and executed buildings of considerable architecture value in
the modern style. The complex is of interest for its avant-garde building techniques, the use of
which made it possible to continue building even in winter.
The rehousing complex consists of three rows of buildings lying east-west, with a
total of eight buildings interconnected by covered terraces. To the south are two buildings,
while in the middle and to the north are three each; all have a footprint of 25 x 10 m. The
building at the west end of the middle row was built later, in 1959.
The building is still used for its original purpose as housing, and has retained its
original stylistic and formal features.

Gems of 20
th

35. The historic okadi Sulejman Vakuf mixed-use building in Sarajevo

The okadi Sulejman Vakuf mixed-use building in Sarajevo is an important work of
modernism from the inter-war period, designed by Reuf Kadi, a pioneer of modernism in
Bosnia and Herzegovina, who produced five of his finest designs in Sarajevo in just three
years, from 1938 to 1940. The building is also of considerable documentary and townscape
value, providing authentic evidence of the concept of town planning in Sarajevo in the inter-
war period.

36. The historic mixeduse building of the Vakuf of Hovada Kemaludin (Mekteb) in
Sarajevo
The mixed-use building of the Vakuf of Hovada [Khawaja] Kemaludin (Mekteb)
inSarajevo is one of the most important modernist buildings of the inter-war period by Reuf
Kadi, one of the pioneers of modernism in Bosnia and Herzegovina. At the time it was built,
the property was one of the finest mixed-use buildings in the city, equipped and fitted to the
highest standards, and is now of major documentary value as part of the townscape ensemble
of Ferhadija Street in Sarajevo's inner city centre.

Gems of 20
th

37. The historic building of the Red Cross Society in Sarajevo

The Red Cross Building at no. 2 Kranjevieva (Kranjevi) street in Sarajevo was
built to the winning design submitted in 1928 by Helen Baldasar, who worked in Sarajevo
between the two world wars, designing in the modernist spirit. It was in the architecture of
health-care institutions in Bosnia and Herzegovina that the principles of modernism could be
consistently apply, since they directly fulfilled the specific social, humane, economic and
functional needs of society, as did this building. The building is distinctive in being the only
one of its kind in BiH. It was used as a health-care and education establishment, but also
included a cinema, so that it could also be regarded as having a cultural function.
In the latter half of the 20th century the building became an essential feature in the
cultural life of the city, thanks to the Sutjeska cinema.

Gems of 20
th

38. The historic building of the National (Central) Bank in Sarajevo with its movable
property

Building works began on the National (Central) Bank in Sarajevo in 1929, at a time
when most architects working in Sarajevo were under the influence of the modern movement.
The building is specific in that its designer, Milan Zlokovi, was successful in producing a
work in the modernist spirit, in line with his professional convictions, even though he was
forced by the investor to make some compromises, particularly in the design of the south front
of the building, which has an academic mantle revealing the belated influence of historicism.
The outline design selected for the relief stonework on the faade of the former
National Bank was submitted by Vladimir Zagorodnjik, stage designer at the National Theatre
in Belgrade, who opted for neutral subjects with unobtrusive and yet powerful iconography
expressed through a single predominant motif (a pair of compasses, a chisel, a boat) which
were symbolically appropriate to the use for which the building was intended.
Among the paintings that are still extant, a composition by Ismet Mujezinovi of the
construction of the National Bank stands out as of both documentary and aesthetic value.
Some of the old fittings of the Mortgage Bank are now in the National Bank old
safes, and a fireproof cupboard..

Gems of 20
th

39. HistoricPensionFundbuildingatthecornerofMarshalTitoandHamzeHumestreetin
Sarajevo

The building dates from 1941 to 1943, when it was built to a design by one of the
pioneers of Modernism in Sarajevo, the architect Muhamed Kadi. It is one of his most
interestingdesigns,theresultoftheculturalclimatethenprevailinginarchitecturalcircles.
The building consists of a ground floor, five upper storeys and an atticwith an east
front34.00minlengthandanorthfrontof18.00m.Itisofextremelycomplexcomposition,
both in volume, consisting of a variety of prismatic and semicylindrical forms, and in its
exuberantfaades.
The point where the north and east faades meet at the corner is echoed by well
proportionedopeningsanddivisionsintowindows,creatingthemostsuccessfultreatmentof
acornerbuildinginSarajevointheperiodbetweenthetwoworldwars.

Gems of 20
th

40. The historic monument of the Bank on the Obala [Embankment] (formerly a branch
of the Austro-Hungarian Bank) in Sarajevo

The Austro-Hungarian Bank is one of very few buildings in which elements of the
classical orders were applied to the architecture of a frontispiece in the Sarajevo Secessionist
style. The building is perfectly symmetrical in composition, with the projecting central section
of the main front designed like that of an Antique temple. The ground floor forms the socle,
upon which stand substantial columns rising to the entablature and tympanum at roof height.
The rest of the building has the usual features of Secessionist architecture. It contains some
fine examples of stained glass, the value of which is not only that they are original but also that
they constitute a rare use of colour in the architecture ofBosnia and Herzegovina. The building
also has some fine sculptures. Work on the building began in 1912 and was completed in 1913.

Gems of 20
th

41. ThehistoricbuildingoftheVillaStefanijaatno.5MjedenicaStreetinSarajevo

The historic building known as the Villa Stefanija is one of the best-preserved and
most typical Austro-Hungarian period villas in the Old City. Its particular value lies in the fact
that it was built in 1911 and 1912 in the historicist style, when most architects were designing
in the Bosnian style. It was built of high quality materials, and the surviving artisanal details
of the building were executed with great precision. The historic building is also of great
townscape value, forming part of the Mjedenica mahala townscape, a happy blend of
architectural styles from the Ottoman, Austro-Hungarian and modern periods.

Gems of 20
th

42. ThehistoricbuildingoftheFireStationinSarajevo

The Fire Station is one of the most important works in Sarajevo by the architect Josip
Pospiil. The historic building was designed in 1912 and built in 1913.
On 8 March 1883, well before it was built, a Standing Fire Brigade for the city of
Sarajevo was founded, with Hurid Terzinski as the first Chief Fire Officer.
Josip Pospiil's designed was based on a fire station in the Vienna district, with a
depot for machinery and equipment, dormitories and other premises. Space was created to the
east of the building for fire practice. The building is L-shaped in plan, with an additional
roughly rectangular wing to the south, facing the inner courtyard.
Automatic fire alarms, activated by pushing the button in a break-glass point, came
into service on 1 June 1913. This opened all the doors to the electric plant, set all the alarm
bells ringing and turned on all the lights.

Gems of 20
th

43. The historic Ante tambuk building at the corner of Tito Street and no. 8 Kulovia
StreetinSarajevo

The Ante tambuk building is of considerable townscape and documentary value
concerning the Austro-Hungarian period. It forms part of one of Sarajevos most important
urban townscapes Tito Street. It has retained its combined residential and commercial use
throughout, is in very good structural condition, and is maintained to exemplary standards,
including the conservation-restoration works on the faades..

Gems of 20
th

44. The historic building of the Prosvjeta Serbian cultural and educational society in
Sarajevo

The building of the Prosvjeta Serbian cultural and educational society was built in
1911 to a 1910 design by Milo Miladinovi for an asymmetrical four-storey corner building.
Designed for dual use housing and offices it therefore has two separate entrances. It is
articulated vertically and horizontally by decorative motifs (medallions, plasterwork friezes
etc.) in the Secessionist style. The task of producing the sculptures for this representative
corner building were entrusted to the sculptor Franjo Rebhen of the Jung and Rus studio,
makers of decorative sculpture and plasterwork, of Vienna and Sarajevo.
The sculpture surmounting the third floor, for which the initial design was provided
by the sculpture Mio Stevi, accentuates the rounded corner of the building. The sculpture
consists of a group of figures: the allegorical figure of Prosvjeta (the word means both
education and enlightenment) with a child in her lap, the figures of a Serb peasant, a townsman
and a boy, and various symbolic motifs: an eagle, a book, garlands, a globe and so on.
The Prosvjeta building is a fine example of the Secessionist architecture of Sarajevo.

Gems of 20
th

45. The Provincial Vakuf (Rijaset of the Islamic Community in Bosnia and Herzegovina
and Vakuf Directorate) and Hadim Ali pasha Vakuf Building in Sarajevo

The edifice was built between 1910 and 1912 to a design by the renowned Czech
architect Josip Pospiil, who spent his most productive years in Bosnia and Herzegovina. It is
one of the most typical and best-preserved examples of the Bosnian style, which may be
regarded as a distinctive architectural phenomenon based on a modern interpretation of the rich
architectural heritage of Bosnia and Herzegovina. Its particular features are its skilful
calibration of traditional components and understanding of the relationship between function,
materials and construction. This example of the high Bosnian style has many Modernist
features, and is closely associated with the creative work of those at the forefront of European
Modernism.
The building consists of a north wing, the Hadim Ali pasha Vakuf, and a south wing,
the Provincial Vakuf, occupied by the Rijaset (headquarters) of the Islamic Community in
Bosnia and Herzegovina and the Vakuf Directorate (a vakuf, Ar. waqf, is a perpetual pious
endowment).
Formally speaking, it is a corner building, erected at the intersection of Demaludina
auevia and Mis Irbine streets. This otherwise typical architectural subject has been
executed with great success, to the point that it could be described as a distinctive architectural
vocabulary. Geometrically speaking, the building is L-shaped, with an overall length of 40.00
m as seen from Demaludina auevia St. and a width of 10.50 m, not counting the stepped
sections projecting eastwards into the inner courtyard. The faade along Mis Irbina St. is
13.00 m in length. The smaller south block is trapezoid in plan, with a length of 13.00 m
facing Demaludina auevia St., and a width of 10.50 m, with a diagonal south-facing gable
wall 13.00 m in length.

Gems of 20
th

46. The historic building of the Provincial Government Building II (Railways Building
in Sarajevo)

The railway station in Bistrik was built in 1906 as part of the project to lay the
Eastern Railways line from Sarajevo to Vardite. The building was designed by the
Engineering Department of the State Railways of Bosnia and Herzegovina in the alpine or
chalet style used for many railway stations. The Eastern Railways line ran from Sarajevo
down into the Praa valley to join the Drina valley, ending in Vardite, took fifteen years to
lay, and was completed in 1906. The cost of construction broke all world records, on account
of the numerous cuttings and embankments and no fewer than 99 tunnels. It remained in use
until 1978. The building was restored in 1982 when the idea was mooted to reopen the narrow-
gauge railway from Sarajevo to Pale for tourism, but the project came to nothing. The Bistrik
Railway Station is now in poor structural condition, partly the result of the war and partly
caused by ill-conceived building works.

Gems of 20
th

47. Building of the Museum of the Revolution (History Museum) of Bosnia and
Herzegovina in Sarajevo

Architecturally, the building of the Museum of the Revolution (History Museum) of
Bosnia and Herzegovina in Sarajevo is a showpiece of design in Bosnia and Herzegovina, and
indeed in Yugoslavia as a whole, in step with European and world movements in the early
years of the latter half of the 20
th
century. It was designed by three architects from Zagreb,
Boris Maga, Edo midihen and Radovan Horvat.
The building consists of a basement with an inner garden, a high ground floor, and an
upper storey. To the north, on a raised stone plinth, a skeleton system with nine bearing steel
piers was erected on which an enclosed cuboid form measuring 27.85 x 27.58 m in plan was
set. To the south, at ground-floor level, extends a transparent parallelepiped of 69.50 x 9.08 m,
at right-angles to which is another section of the building lying east-west, measuring 16.38 x
10.60 m. To the west is the inner garden of 48.00 x 15.70 m, at basement level.
The museum was founded in 1945 as the Museum of National Liberation. It was
housed in the Ethnographic Department of the National Museum of Bosnia and Herzegovina
until 1950, when it was renamed the Museum of the Peoples Revolution of Bosnia and
Herzegovina. In 1956 it was moved to the City Hall, where it remained until 1963, when it
was moved into the newly-designed building.
The museums first permanent exhibition was ceremonially opened to the public on
ZAVNOBiH Day, 25 November 1966, after which it was renamed the Museum of the
Revolution of Bosnia and Herzegovina. In 1993 it had another change of name, to the History
Museum of Bosnia and Herzegovina..

Gems of 20
th

48. The historic building of the church of the Holy Trinity in Sarajevo

The church of the Holy Trinity in Sarajevo, designed by architect Josip Vanca, was
built in 1906 and constitutes the mainstay of the urban development of a new part of Sarajevo.
In terms of its architectural value, the building is one of the most significant historicist
creations in the religious art of Sarajevo, and indeed of Bosnia and Herzegovina as a whole. It
forms an artistic whole with neo-Romanesque features at the point of transition to the
Secession. The use of Romanesque stylistic elements is to be seen in the form of the entrance
doorway with the bell tower and on all the faades, with their alternating bands of ochre and
yellow, in the architectural mouldings with Romano-Gothic motifs, and in the stained-glass
windows.

Gems of 20
th

49. HistoricbuildingoftheMusafijamansionblockinSarajevo

The Musafija mansion block in Tito Street was built in 1913, during the Austro-
Hungarian period, for Aron and Isak Musafija, to a design by the architect Josip Pospiil,
which he completed in 1911, by Jungwirth construction company.
The absence of historicist features on this building reveal the architects lasting
preferences; despite recognizable elements of traditional architecture, it is of late Secessionist
design.
Built on an irregularly-shaped plot of 23.04 x 34.50 m, the mansion block is a mixed-
use multi-storey building with a ground floor, basement, four upper storeys and a two-storey
attic on the street side, and a central atrium of 14 x 14 m.
The courtyard, which contains the original octagonal fountain, has a somewhat
sunken ground floor and five upper storeys with an attic.

Gems of 20
th

50. HistoricbuildingoftheSalommansionblockinSarajevo

The Salom mansion block was built in the Secessionist style in 1912, during the final
stages of the Austro-Hungarian period, for Jeua and Mojce Salom, to a design produced by
the architect Rudolf Tonnies in 1911.
The property on this site had been owned by a Sarajevo merchant, Sadik Sabetaj
Finci, until it was purchased in 1886 by Jeua and Mojce Salom. It remained in their
possession until 1950, when it was nationalized.
The building is a mixed-used mansion block with an inner courtyard, on the south
side of Tito street, which had already been built up. It is a five-storey building with a mansard,
roughly rectangular in plan, measuring 39 x 56 m with an inner courtyard of 14 x 28 m
containing the original fountain.
The north front of the building is adorned with handsome life-size sculptures of
figures in the traditional costumes of the Bosniacs, Croats and Serbs and of the rural and urban
population of Bosnia and Herzegovina.
The building, which has retained its original mixed-use character, is one of the first in
Sarajevo to be provided with lifts.

Gems of 20
th

51. ThearchitecturalensembleoftheOfficersPavilionsinSarajev

The architectural ensemble of the Officers Pavilion in Sarajevo is a notable example
of residential architecture in a monumental composition of free-standing mansions dating from
the Austro-Hungarian period in Bosnia and Herzegovina, and also the largest group of
residential properties in the Secessionist style with an admixture of historicism. It is of
considerable townscape value in the central urban quarter of Marijin Dvor. All the buildings in
the group are in very good structural condition, but the faades and roofs of some of the
buildings were damaged by shelling during the recent war in Bosnia and Herzegovina. In
addition, injudicious extensions have been made to some of the buildings, diminishing the
townscape value of the ensemble, and the garden areas are in a state of neglect and used to
park
cars.

Gems of 20
th

52. ThearchitecturalensembleoftheStariGradHotel(theformerhanoftheGaziHusrev
bey vakuf, Hotel Gazi) and Kadi residential property, designed by architect Josip Vanca,
inSarajevo

The architectural ensemble of the former Gazi Husrev-bey vakuf hotel and Kadi
house was built in 1909, during the Austro-Hungarian period. The architect Josip Vanca put
his name to the design, though the blueprints were produced by Josip Pospiil.
It was built after the previous vakuf boarding house there burned down in 1908. In
the early 20th century the hotel of the Gazi Husrev-bey vakuf was one of the most luxurious
hotels in Sarajevo, with European-style amenities. It was known by Husrev-bey's chivalric
title of Gazi (ghazi, a military hero) until 1946, when it was nationalized and renamed the Stari
Grad (Old City) Hotel.
The building was damaged in 1993, and in 2003 was restored to its original owner,
the Gazi Husrev-bey vakuf, which repaired the damaged roof and changed the use of the
building.
There is very little historical information on the private residential block, though it is
known to have been built at the same time as the Gazi Hotel, after the great fire of 1908. It is
now owned by the Kadi family.

Gems of 20
th

53. Historic building of the Jeua D. Salom mansion at no. 20 Obala Kulina bana,
Sarajevo

The ua D. Salom mansion is located on the embankment known as Obala Kulina
bana, in a row of buildings dating from the Austro-Hungarian period. The mansion was built
in 1901 to a design by the architect Josip Vnc. The daily newspapers of the day reported in
December 1901 that u D. Slom, a prominent merchant, received guests in his newly-built
house on what was then known as Appel Quay.
The mansion was one of the earliest examples of a showpiece in the floral
Secessionist style built for family occupation. It is a mixed-use building facing the River
Miljacka, with a frontage of 16.55 m and an overall length of 27.70 m, and has three storeys
and a cellar. The overall height of the building from ground level to the top of the dome is
18.20 m, and from the ground to the eaves is 13.10 m.
The building lies north-south, with to the north, behind the mansion, is an inner
courtyard. The entrance in the eastern part of the south front is through a double-valved
wooden portal of top quality oak, treated with brown preservative, measuring 2.15 x 3.30 m.
The top part of the door, which is glazed, still retains the original wrought-iron work in the
Secessionist style. The portal is surmounted by two overlights of the same width.
The south front, facing the River Miljacka, is a showpiece in the Secessionist style
revealing the typical manner of the day in which the decoration develops from bottom to top.
The principal feature is the wide projecting loggia with a balcony and dome above.
The east, west and north faades are plain side walls.
The building was adapted in the latter half of the 20
th
century to become a public
edifice, housing the Engineers and Technicians Society and a caf. Only the attic storey
retained its original residential function.

Gems of 20
th

54. The architectural ensemble of the group of villas dating from the AustroHungarian
period in Petrakijina street (the Mandi Villa, the Heinrich Reitter Villa, the Hermina
RdischVillaandtheForstrathMiklauVilla)inSarajevo

The architectural ensemble consisting of a group of villas dating from the Austro-
Hungarian period in Petrakijina street (the Mandi Villa, the Heinrich Reitter Villa, the
Hermina Rdisch Villa and the Forstrath Miklau Villa) is the best-preserved group of Austro-
Hungarian villas in Sarajevo, and of inestimable historical and documentary value as a source
of knowledge on the building methods and lifestyle of early 20th century Sarajevo city centre.
In addition to its historical and documentary value, the group of buildings is of great
townscape, artistic and aesthetic value as the work of the leading designers in Bosnia and
Herzegovina at that time, who produced buildings that are unique, stylistically and formally, to
Sarajevo and are not replicated in any other town in Bosnia and Herzegovina.

Gems of 20
th

55. ThehistoricbuildingoftheGirlsGrammarSchoolinSarajevo

The Girls Grammar School in Sarajevo, built in the neo-Renaissance style during the
Austro-Hungarian period, is of considerable townscape value in the city centre. The building
was originally used as the local military HQ. The First Girls Grammar School, which was
housed there in the early 20th century, was the first grammar school for girls of the Austro-
Hungarian period, and became well-known for the fact that many of its pupils, after
matriculation in the inter-war period, continued their studies and obtained academic
qualifications.
.

Gems of 20
th

Travnik
56. The historic building of the Officers Club in Travnik

The Officers Club, built in 1906, is a historic building that played an important part
in the social life of Travnik throughout the 20
th
century. It was a meeting place for military
personnel and the social elite associated with the Austro-Hungarian authorities. In the latter
half of the 20
th
century, following the construction of the theatre hall, the historic building
became the focal point of the towns cultural life, and until the 1960s it was the only place
where films were shown on a large screen. The site of the Officers Club is also a potential
archaeological site: during the Ottoman period, the Greater Konak (residence) of the Bosnian
governors wastoitswestandtheLesserKonak,housingtheshariahjudges,wastoitseast.

Gems of 20
th

57. The historic building of the Music School in Travnik

The Music School in Travnik, built in 1903, was endowed by the Fufi family and
handed over to the Orthodox parish of Travnik. It is a well-preserved example of the moany
public and philanthropic properties built in the towns and cities of Bosnia and Herzegovina
during the great urban expansion of the Austro-Hungarian period. That same year the only
Serb primary school in the town was moved into the building. During the Austro-Hungarian
period and the interwar period the school was one of the most representative institutions of
education in the entire district. Later the building also came to house other cultural and
educational institutions associated with the Orthodox Church. It now houses the Primary
Music School, a reputable educational establishment and the only of its kind in Travnik,
meaning that the building has been in use for educational purposes without a break since it was
first erected.

Gems of 20
th

Velika Kladua
58. The historic monument of the church of St George the Great Martyr in Velika
Kladua

The church of St George the Great Martyr in Velika Kladua was built in 1901, and
was consecrated and opened in 1913. On 29 July 1941, the Ustasha massacred the towns Serb
residents in the church. The church is an important testimony to the history of the town and of
that event, as well as of value as a religious monument. It is one of many new churches built
in the late 19
th
and early 20
th
century, of which relatively few still survive. With its location in
the town centre, it forms an important feature in the townscape. It is not currently in use.

Gems of 20
th

Visoko
59. ThearchitecturalensembleoftheStBonaventureMonasteryinVisokowithmovable
heritage

The architectural ensemble of the St Bonaventure Monastery in Visoko is evidence of
the continued presence of the Franciscan order in Bosnia and Herzegovina. The first monastery
was built in Mile near Visoko after the establishment of the Bosnian Franciscan vicariate in
1340/41, and demolished in the late 17
th
century. The present group of buildings dates from
the turn of the 19
th
to the 20
th
century.
The historic complex houses a valuable collection of paintings by old masters,
including The Porziuncula Indulgence by Paulus Antonius Senser (1716 Peuh, Pcs 8
January 1758) and The Holy Family by Fr. Miho ui (Tomislavgrad, upanjac, upanj-potok,
Duvno, c. 1750 1809).
The church ceiling is decorated with valuable murals by Marco Antonini (Gemona,
7.09.1849 Zagreb, 25.05.1937).

Gems of 20
th

Zenica
60. ThearchitecturalensembleofthechurchofSt.ElijahwithparishofficeinZenica

The area in which the present-day parish of St. Elijah in Zenica is located once
belonged to the parish of Gua Gora. In 1836 a chaplaincy was founded, becoming St. Elijah's
parish in 1858. The seat of the parish was located in Crkvice from 1836 to 1875, and in
Gornja Zenica from 1875 to 1910. St. Elijah's church in Zenica was built from 1908 to 1910 to
a design by Josip Vanca, with a parish hall alongside it. The church retained the basic features
of a neo-(pseudo)romanesque edifice, but Vanca' decoration on the faades gave it a
secessionist expression. St. Elijah's has a high altar and three side altars which, like the pulpit,
were made in the 1920s in the Ferdinand Stuflesser studio in the Tyrol. The organ is the work
of the Heferer workshop in Zagreb and was installed in the church in 1933. A collection of
modern art has been formed in the parish hall during the past decade.
The parish hall began as a single-storey outbuilding, which was extended in the 1920s
to acquire its present appearance. Part of the ground-floor premises was nationalized after
World War II, and is now used as commercial premises.

Gems of 20
th

61. The architectural ensemble of the former Paper Factory (Papirna) in Zenica

The Paper Factory, formally opened on 25 May 1889, the Brown Coal Mine (opened
in 1880) and the Zenica Iron Works (started up in 1892), were of major importance for the
industrialization of Bosnia and Herzegovina, giving a powerful boost to the development of
what was then a small town and its transformation into the city of Zenica. Each of these
facilities was of considerable importance for the influx and employment of residents, the
development of the infrastructure system and the spatial development of the city of Zenica.
The Paper Factory was also significant in that a workers housing development was
built alongside it, linking the formerly isolated village of Bilino Polje with the urban
settlement.

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XX vijek - Dragulji moderne i savremene arhitekture u Bosni i Hercegovini 0

The Commission to Preserve National Monuments of Bosnia and Herzegovina,

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