The Providur’s Palace
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普罗维杜尔宫是扎达尔历史中心一个综合建筑群中最近翻新的部分。与之前翻新的 rector 宫一起，它现在形成了一个新的城市机构——双宫。这一新生的艺术与文化枢纽，作为对历史地标的现代干预，覆盖了十千平方米的区域。该综合体被设想为扎达尔的文化客厅，也是国家层面上重要的艺术和文化中心。
今天的双宫的翻新是一个渐进的过程：rector 宫的翻新在2014年至2017年间进行，而普罗维杜尔宫作为独立单元的翻新始于2019年，并于今年年初完成。此次翻新是一个更大整体项目的一部分，名为“扎达尔遗产——扎达尔市2020年综合文化项目”。翻新的宫殿现在形成了一个连接良好的综合体，而最终的功能统一将通过项目的第三阶段按计划完成。
翻新的普罗维杜尔宫于2022年4月向公众开放，随即获得了建筑卓越的官方认可：建筑师伊娃·莱蒂洛维奇和伊戈尔·佩迪西奇获得了两个最重要的国家建筑奖项，即由克罗地亚建筑师协会颁发的年度维克托·科瓦契奇奖，表彰在所有建筑设计领域的最成功成就，以及由克罗地亚文化和媒体部颁发的弗拉基米尔·纳佐尔奖，表彰当年建筑和城市主义领域的最大艺术成就。
普罗维杜尔宫的大部分内部空间用于画廊，同时，除了展览和教育活动外，建筑内还设有扎达尔市图书馆的一个分馆以及两个音乐厅。根据文化和媒体部、扎达尔市和现代艺术国家博物馆之间的协议，部分NMMA的永久收藏将在宫殿内展出。普罗维杜尔宫的展览项目以扎达尔艺术家拉特科·佩特里奇的展览“让他们面对真相”揭幕，展览遍布两层以及宫殿的中庭。
在历史建筑的背景下，rector 宫和普罗维杜尔宫是旧市中心最令人印象深刻的建筑群。两座宫殿的逐步增长和转型过程始于13世纪。在19世纪，它们被统一为达尔马提亚政府的摄政综合体。在第二次世界大战期间，扎达尔半岛几乎被摧毁了80%，但普罗维杜尔宫和 rector 宫是为数不多的幸存历史建筑之一，保持了其原始形态。在战后，rector 宫成为扎达尔的文化中心，但在1990年代的家园战争中随后的破坏使得所有活动在接下来的三十年中停止。在整个期间，普罗维杜尔宫接待了各种城市机构、民间协会、俱乐部、体育联盟和许多其他小型用户。由于这些历史背景，普罗维杜尔宫和 rector 宫的复合体经历了不断的扩展、重建、分割和破坏，取决于每个特定时期的需求。因此，尽管宫殿的内部空间对外部观察者而言似乎是一个连贯的整体，但内部并未很好地整合。事实上，几个世纪以来，内部已变成一个迷宫，像错综复杂的网络，不仅在水平方向上延伸，也在垂直方向上延伸。唯一有助于至少部分可读性的特征是开放空间和布局各异的中庭的连续性。
rector 宫的翻新工作几乎在十年前开始，同时建筑师们被要求为普罗维杜尔宫的翻新制定项目。整体任务是创造一个新的多功能内部空间，位于这个历史复合体内，该复合体几个世纪以来一直受到分割和缺乏任何系统空间组织的变化。极其异质的条件必须转变，以迎接扎达尔国家博物馆的不同部门，即历史、自然历史和民族学部门，以及美术画廊。每个部门都应拥有一个独立的展览空间，同时共享支持基础设施。随着项目的推进，城市的需求发生了变化，项目现在还必须容纳一个音乐厅、多功能厅、扎达尔音乐办公室和城市图书馆。之前布局的极端空间不连贯性完全不适合作为博物馆空间，因为博物馆空间的必要条件是流动，无论是访客还是博物馆工作人员和展品。建筑师们的主要任务之一是创造一个清晰的通道，通过空间使迷宫般的结构变得可读。
在设计两个宫殿的翻新项目时，建筑师们决定保留这个珍贵的综合体，作为所有历史变迁和创伤的静态影像，而不是摧毁现有的空间结构。在普罗维杜尔宫的翻新过程中，其原有的外观、尺寸和楼层得以保留，而内部则在之前被剥离至基本框架的基础上进行了重构。
普罗维杜尔宫的大型中庭，曾是围绕复合体内部组织的开放空间之一，现已成为一个封闭的通道，成为连接两座建筑的核心空间。中庭宽敞的多层体量是该综合体最宏伟的部分，承担着主要的出入口功能，同时也是访客可以接近双宫各个部分和所有楼层的空间。通过在中庭空间中可见的历史层次与新建筑元素的重叠，旧与新的相遇变得尤为明显。该空间以白色为主，透过半透明的聚碳酸酯屋顶，光线吸引着访客的目光向上，直至钢结构。钢结构延伸出大型白色楼梯，像触角一样穿过中庭空间，轻轻触碰着无法依靠的地面。这是因为原有的石地板隐藏并保护着古老的容器，这些容器现在作为喷淋系统的水箱。此外，旧井盖也得以保留。
两座桥梁横跨中庭的开放空间，一座是新建的，另一座是在翻新过程中发现的。这两座桥连接了两座宫殿各自内部组织的截然不同的概念。之前翻新的 rector 宫空间，内部遗留的部分经过精心修复，以保留过去的痕迹，而普罗维杜尔宫则以其低调的展览空间形成对比。与前者的精致、历史悠久且整洁的空间不同，后者的墙壁则保持粗糙、裸露和未经处理——就像一个尚未容纳其艺术内容的匿名容器。普罗维杜尔宫内没有石墙雕塑或其他可供展示的装饰物。最有价值的发现是揭示在较新涂层下的壁画。所有揭露的遗迹碎片都被保留，并与最新的建筑干预进行对话，后者在材料化上直接且不具竞争性。墙壁的原始质感和旧的抹灰层与极简的建筑元素以及黑色或白色的天然橡胶地板形成对比。
其中一座桥梁，曾是一个阳台，以鲜艳的红色为特色，成为宫殿的一种标志。这一古老的钢结构是在翻新过程中发现的，隐藏在抹灰层下。作为一项工程瑰宝，这一承重结构是19世纪达尔马提亚建筑的独特设计。尽管在最初的翻新计划中打算拆除，但建筑师们意识到该结构的价值，决定保留它。红色结构的钢地板现在包含一个坡道，适合残疾访客使用，并承担起连接两座宫殿的桥梁功能，这一功能在最初的翻新设计中已包含，但位置不同。由于其鲜艳的颜色，这一构件现在也成为了一种雕塑——在单色中庭中的一个动态红色元素。
从抽象空间的明显和压倒性的白色中，访客可以攀登到玻璃走廊的最高层，在那里他们将接触到天空的蓝色和周围扎达尔屋顶的红色。从某种程度上说，城市现在成为了另一个展览。穿过宫殿的蜿蜒走廊、不同的楼层、桥梁和中庭的楼梯，所有这些都通向突出的悬臂，俯瞰着空旷的庭院——这是普罗维杜尔宫中唯一仍在等待即将进行的翻新的部分，这将标志着双宫建设项目的完成。
置于综合体屋顶上的钢网是该结构的技术、通信和建筑支柱，对建筑的可行性至关重要。它隐藏了满足多种用途要求所需的所有设施，例如众多内置的空调单元、通风管道和支持基础设施。这一令人惊讶的“寄生物”渗透、连接并复兴了它所依赖的历史结构，隐藏了所有的技术设备，同时保持了其第五立面的完整性。
因此，这两座古老的石制遗迹——普罗维杜尔宫和 rector 宫——与一台“让它们呼吸”的机器相连——一个建筑超结构，隐藏了原本宫殿并未打算纳入的新层。这一结构还发挥了重要的构造功能：钢网依靠宫殿的墙壁，支撑着中庭的半透明屋顶、楼梯和带有景观视野的玻璃走廊。
对比翻新前和当前的宫殿平面图，表面上只会发现微小、几乎不可见的差异，这些差异似乎仅在轮廓的厚度上，而原始形态依然至高无上、不可触碰。然而，这仅仅是表面现象，因为这些新的必要安装组件：喷淋系统、水供应和排水网络、供暖、制冷和通风系统、照明、音响、视频监控、安全和应急灯、消防区、疏散路线等，均需“隐形”地融入建筑中，以使其符合现代要求、法律和规定。
普罗维杜尔宫项目以及整体双宫项目是当代建筑基础设施与现场历史层次的共生体。该项目的概念背景是对数百年历史建筑翻新的新鲜、专业和大胆的视角，这些建筑被赋予了新的基础设施，并调整为之前未曾设想的用途，位于受保护的历史城市空间内。该项目的意图是创造一个现代层次，清晰地阐明并区分历史结构与最新干预之间的关系，使两者相互对话并互为补充。建筑师们希望这个项目能够为在历史市中心内进行建设提供一种毫无保留的现代方法，使用现代语言和材料，并得到项目所有参与者之间富有成效的沟通支持，包括建筑师、保护专家、城市机构代表、建筑承包商等。
The Providur’s Palace is the most recently renovated part of an integrated architectural complex in the historic center of Zadar. Together with the previously renovated Rector’s Palace, it now forms a new city institution, Two Palaces. This newborn nexus of art and culture, a contemporary intervention within the renovated historical landmarks, stretches over an area of ten thousand square meters. The complex has been envisioned as a cultural living room for the city of Zadar, as well as a significant center of art and culture in the national context.
The renovation of today’s Two Palaces was a gradual process: the renovation of the Rector’s Palace was executed between 2014 and 2017, whereas the renovation of the Providur’s Palace as an independent unit, started in 2019 and was brought to an end at the beginning of this year. The renovation was part of a bigger overall project entitled “Zadar Heritage - Integrated Cultural Program of the City of Zadar 2020”. The renovated palaces now form a well-connected complex while the final functional unification into a single entity will be completed within the scheduled third phase of the project.
The renovated Providur’s Palace opened its doors to the public in April 2022 and the official recognition of architectural excellency immediately followed: the architects Iva Letilović and Igor Pedišić received the two most important national prizes for architecture, the Annual Viktor Kovačić Award, awarded by the Croatian Architect’s Association for the most successful achievement in all areas of architectural design, and the Vladimir Nazor Award, awarded by the Croatian Ministry of Culture and Media for the greatest artistic achievement in the category of architecture and urbanism in the current year.
Most of the interior of the Providur’s Palace is dedicated to gallery spaces while, along with exhibition and educational activities, the building also hosts a branch of the Zadar City Library as well as two concert halls. Based on the agreement between the Ministry of Culture and Media, the City of Zadar and the National Museum of Modern Art, part of the NMMA permanent collection will be placed on display within the palace. The exhibition program of the Providur’s Palace was inaugurated with the exhibition “Make Them Face The Truth” by the artist Ratko Petrić, from Zadar, installed throughout both floors as well as in the atrium of the palace.
In the context of historical architecture, the Rector’s and Providur’s palaces are the most impressive building complex in the old city center. The process of gradual growth and transformation of the two palaces started in the 13th century. In the 19th century they were united into a Dalmatian government Regency complex. During the Allied bombing in World War II, almost 80 per cent of the Zadar peninsula had been destroyed, but the Providur’s and Rector’s Palaces were among the few historical buildings that survived the destruction in their original form. In postwar years, the Rector’s Palace became Zadar’s cultural hub but the subsequent destruction in the Homeland War of the 1990s extinguished all activity for the following three decades. During this entire period, Providur’s Palace hosted various city institutions, civil associations, clubs, sports alliances and numerous other small users. Owing to these historical circumstances, the Providur’s and Rector’s Palaces compound has been in the process of continuous expansion, reconstruction, partitioning and destruction depending on the needs of each specific time. Therefore the interior spaces of the palaces, although they may seem like a coherent whole to an outside observer, were not well integrated on the inside. In fact, over the centuries the interior had become a labyrinth which, as a tangled web, extended not only horizontally, but also vertically. The only contributing feature to the, at least partial, readability of the complex was the continuum of open-air spaces and atriums of very different layouts.
The renovation of the Rector’s Palace began almost a decade ago, and at the same time the architects were asked to outline a project for the renovation of the Providur’s Palace. The overall task was to create a new and multifaceted interior within the historical compound which had for centuries been subjected to partitioning and changes devoid of any methodical organisation of space. The extremely heterogenous conditions had to be transformed so as to welcome the different departments of the Zadar National Museum, that is the history, natural history and ethnology departments as well as the gallery of fine art. Each was supposed to have an autonomous exhibition space while sharing the support infrastructure. As work on the project moved further, the needs of the city changed and the project now also had to accommodate a concert hall, a multifunctional hall, the Zadar Concert Office and the city library. The extreme spatial incoherency of the previous layout was entirely unsuitable as a museum space where the necessary condition is movement, whether of visitors or of museum staff and exhibits. One of the architects’ major tasks was to create a clear route through the space and make the labyrinthine structure, the result of continuous discontinuity of use, readable.
While designing the project for the renovation of both palaces, the architects decided to keep this precious complex, the frozen image of all the transformations and traumas the buildings experienced through history, in the form that it was found in, and not destroy the existing spatial structure. In the process of renovation of the Providur’s Palace, its previous exterior, dimensions, and floors were preserved while the interior, which had previously been stripped down to its essential framework, was restructured.
The large atrium of the Providur’s Palace, one of the former open spaces around which the interiors of the compound were organized, has become a covered passage, a core space, a central zone connecting the two buildings. The spacious multilevel volume of the atrium is the most monumental part of the complex and has taken over the crucial function of being the main entrance and exit as well as the space from which a visitor can approach every section of the Two Palaces and all building floors. By means of visible overlap of historical layers and new architectural elements in the space of the atrium, the encounter of the old and the new has been made most apparent. The space is dominantly white and the light coming through the translucent polycarbonate roof draws the visitor’s eyes upwards, to the steel framework. The steel framework extends into large white staircases which cut through the space of the atrium like feelers, lightly touching the ground they cannot lean on. This is because the original stone floor hides and protects ancient containers, which now serve as water tanks for sprinklers. In addition to the stone floor, the old well cover has also been preserved.
Two bridges cross the open space of the atrium, one newly constructed, one found on-site in the process of renovation. These two bridges link the two diametrically opposed concepts of the palaces’ respective interior organization. The formerly renovated space of the Rector’s Palace, where the found remains of the interior had been painstakingly restored in order to preserve the past, are counterpointed by the discreet exhibition spaces of the Providur’s Palace. Unlike the treated, elaborate, historical and tidy spaces of the former, the walls of the latter have been left rough, bare and untreated — like an anonymous container which has yet to accommodate its artistic content. There were no stone wall sculptures nor other ornaments that could be put on view in the Providur’s Palace. The most valuable find were the frescoes revealed under more recent layers of paint. Fragments of all the uncovered remains have been preserved and placed into dialogue with the most recent architectural intervention, straightforward and noncompetitive in its materialization. The original texture of the walls and the old layers of plaster stand in contrast with the minimalist architectural elements and with the black or white natural rubber floors.
One of the two bridged bridges, a former balcony, is accentuated by its bright red color and has become a kind of trademark of the Palace. This ancient steel framework was discovered during the renovation process, under layers of plaster. An engineering gem, the bearing structure is a design particular to 19th century architecture in Dalmatia. Although intended for demolition in the original renovation plans, the architects recognized the value of the structure and decided to keep it. The steel floor of the red structure now contains a ramp, suitable for visitors with disabilities, and it has taken over the function of a bridge connecting the two palaces, already included in the original renovation design but in a different location. Due to its intense coloring, the constructive element has now become a sculpture as well — a dynamic red element in a monochromatic atrium.
Moving from the pronounced and overwhelming whiteness of the abstract space, the visitors can climb up to the highest level of the glass corridor where they will find themselves exposed to the blues of the sky and the reds of the surrounding Zadar rooftops. From a kind of belvedere, the city now becomes another exhibit on display. The meandering corridor through the palace, the different levels, bridges and staircases of the atrium, all lead to the protruding console overlooking the empty courtyard — the one remaining part of the Providur’s Palace still awaiting its upcoming renovation which will mark the completion of the Two Palaces construction project.
A steel grid placed on the roof of the complex is the technological, communication and construction backbone of the structure, crucial for the building’s viability. It hides all the installations necessary to meet the requirements in a complex envisioned for such diverse purposes, such as numerous built-in air-conditioning units, ventilation channels and supporting infrastructure. This surprising parasite penetrates, connects, and revives the historic structure it leans on, hiding all of its technological equipment while leaving its fifth facade intact.
The old stone relics, the two palaces, have thus been connected to a machine that “keeps them breathing” — an architectural suprastructure concealing new layers which the original palaces were never intended to incorporate. This structure also performs a major tectonic function: the steel grid, leaning on the palace walls, supports the translucent roof of the atrium, the staircases and the glass corridor with its scenic view.
A cursory comparison of the two floor plans of the palace, the one predating the renovation and the current one, will reveal only minor, hardly visible differences, which seem to all be in the thickness of the contours while the original form remains supreme and untouchable. However, this is only seemingly the case, for these new and necessary installation components: sprinklers, water supply and sewer networks, heating, cooling and ventilation systems, lighting, sound, video surveillance, security and emergency light, fire sectors, evacuation routes, etc., all had to be “invisibly” incorporated into the building so as to make it adhere to present-day requirements, laws and regulations.
The Providur’s Palace project, as well as the overall Two Palaces project, is a symbiosis of contemporary architectural infrastructure and the historical layers found on-site. The conceptual background of the project is a fresh, professional, and daring perspective on renovation of centuries-old buildings, which are provided with new infrastructure and adjusted for previously unintended usage, inside protected historical urban spaces. The intention of this project was to create a contemporary layer which clearly articulates and distinguishes the historical structure from the most recent intervention, whereby the two converse with and complement each other. The architects hope that this project will open the door to an unreservedly contemporary approach to construction inside historical city centers, using contemporary language and materials, supported by fruitful communication of all participants in the project: architects, conservationists, representatives of city institutions, building contractors and others.