Ciril Oblak - katalog GPN

Ciril Oblak
CIP - Kataložni zapis o publikaciji
Narodna in univerzitetna knjižnica, Ljubljana
725.1:656.71
OBLAK, Ciril, 1934Ciril Oblak : arhitektura Aerodroma Ljubljana in njegova likovna zbirka = The architecture
of Aerodrom Ljubljana and its art collection : Galerija Prešernovih nagrajencev za likovno
umetnost, Kranj, 19. marec - 30. april 2015 = Prešeren Award Winners of Fine Arts Gallery,
Kranj, 19 March - 30 April 2015 / [besedili Peter Krečič, Andrej Jemec ; uvod Zmago Skobir
; biografija Barbara Kalan ; prevod Amidas ; fotografije Marko Tušek ... et al.]. - Kranj :
Zavod za turizem, 2015
ISBN 978-961-6815-05-5
1. Gl. stv. nasl.
278667264
Ciril
Oblak
Arhitektura Aerodroma Ljubljana
in njegova likovna zbirka
The Architecture
of Aerodrom Ljubljana
and its art collection
Čakalnica z izhodi na letališki plato.
V ozadju akril na platnu Andreja Jemca Kompozicija - Potovanje v pisani svet,
1971, 230 x 600 cm / Waiting lounge with gates to the apron.
In the back Andrej Jemec's acrylic on canvas Composition - A Journey to the
Colourful World, 1971, 230 x 600 cm
Predgovor
Nagrajenec Prešernovega sklada Ciril Oblak je arhitekturno pomembno zaznamoval ljubljansko letališče in njegov videz. Letališče se je sicer z rastjo
prometa in modernizacijo v zadnjih petnajstih letih arhitekturno precej spremenilo. Novi del potniškega terminala je zasnoval arhitekt Vladimir Koželj,
ki pa je spoštljivo ohranil dediščino in pečat, ki jo letališču daje "Oblakova"
zgradba. Hvaležen sem, ker se je Galerija Prešernovih nagrajencev za
likovno umetnost Kranj odločila za predstavitev Oblakovega dela, prikaz pa
obogatila še z razstavo likovnih del, ki so jih v bogato likovno zbirko
Aerodroma Ljubljana prispevali prav prejemniki Prešernovih priznanj.
Likovna zbirka Aerodroma Ljubljana predstavlja pomemben pregled in
prezentacijo v enem delu slovenske moderne umetnosti, v drugem pa
likovnikov gorenjske regije, v katero je vpeto letališče. Velik del naše zbirke
so ustvarili Prešernovi nagrajenci, nekateri nagrajeni tudi po času, ko so njihove umetnine dobile mesto v naših prostorih - ne le v potniškem terminalu,
temveč tudi v upravni stavbi in drugih objektih po letališču, kjer se odvija
naša dejavnost.
Ponosen sem, ker letališče, s katerim upravlja Aerodrom Ljubljana, ni le
objekt, namenjen izključno svoji primarni funkciji zagotavljanja mobilnosti
prebivalstva in prometnih poti, temveč mu dodajamo vrednost s predstavitvijo pomembnega in reprezentativnega dela slovenske umetnosti. Ker
smo za letalske potnike prvi stik z našo deželo in zadnji, ko iz nje odidejo,
je to poslanstvo še toliko bolj pomembno.
Smo v obdobju, ki je za našo družbo
prelomno. Lansko leto je zaznamovala 50. obletnica in menjava
lastništva. Poleg tega je letališka
dejavnost izjemno dinamičen
posel, kjer se trenutno tako
regionalno kot globalno
veliko spreminja. Nedvomno našo družbo v bližnji prihodnosti čakajo nove spremembe, del njih tudi na
infrastrukturnem področju.
Prav zato se mi zdi trenutek
predstavitve Cirila Oblaka in
njegovega dela na letališču
dobro izbran.
Ciril Oblak
5
France Rotar: Krogla,
1984, bron, 31 x 41 x 31 cm /
France Rotar: Sphere, 1984,
bronze, 31 x 41 x 31 cm
Bogdan Borčić:
5. marec devetnajstodvainosemdesetega, 1982, jedkanica
in akvatinta, 49,5 x 64,3 cm
/ Bogdan Borčić: 5 March
Nineteen Eighty-Two, 1982,
etching and aquatint,
49,5 x 64,3 cm
Jedro likovne zbirke Aerodroma Ljubljana je družba v večini zaokrožila do
sredine devetdesetih let 20. stoletja, nekaj del, čeprav v manjši meri, pa
odkupila tudi v kasnejšem obdobju. Da je vsebinsko celovita in reprezentativna se je treba zahvaliti tedanjemu vodstvu in zunanjim strokovnim
sodelavcem, ki so razumeli, da je osrednje letališče neke države lahko tudi
galerijski prostor, primeren za predstavitev nacionalne umetnosti in kulture.
Razstava dela likovne zbirke Aerodroma Ljubljana v Galeriji Prešernovih
nagrajencev ob predstavitvi Cirila Oblaka našo zbirko predstavlja v drugačnem okolju, ustvarja nove odnose in s tem likovni zbirki Aerodroma
Ljubljana dodaja novo vrednost. Je hkrati poklon njenim avtorjem in prikaz
dobrega sodelovanja z lokalno skupnostjo. Ne smemo je razumeti kot razstavo nekega preteklega časa, temveč kot most s sedanjostjo. Daje nam
priložnost za ponovno osmislitev in opredelitev likovne zbirke v nekoliko
drugačnem času in okolju. Manifestira dejstvo, da bo spoštovanju slovenske
umetnosti Aerodrom Ljubljana ostal zavezan tudi v prihodnje.
Zmago Skobir,
predsednik uprave Aerodroma Ljubljana
Stane Kregar: Hipijeve blodnje, 1971, gvaš na papirju,
34,2 x 27,5 cm / Stane Kregar: Hallutinations of a Hippie,
1971, gouache on paper, 34,2 x 27,5 cm
Ciril Oblak
7
Foreword
Ciril Oblak is a Prešeren Award Winner, whose architecture is a significant
part of Ljubljana Airport and its appearance. The airport has undergone significant architectural changes in the last 15 years as traffic has increased and
infrastructure has been modernised. The new section of the passenger terminal was designed by Vladimir Koželj, who showed great respect in preserving the heritage and the impact given to the airport by Oblak's building. I am grateful that Prešeren Award-Winners' Gallery in Kranj decided to
present Oblak's work, enriched by exhibition of some of the great art exponents from Aerodrom Ljubljana art collection, created by the winners of the
Prešeren Awards too.
The Aerodrom Ljubljana art collection represents an important view and
window into one part of modern art in Slovenia, and also into the artists of
the region of Gorenjska where the airport is located. A good deal of our collection was created by Prešeren Award winners, while others became
award-winners after earning a place in our collection, not just in the passenger terminal, but also in the office building, and in other buildings
around the airport where we pursue our business.
I am proud that the airport operated by Aerodrom Ljubljana is not just a
facility devoted solely to its primary function of ensuring public mobility
and providing transport routes, but also adds value by means of the exhibition of a substantial and representative selection of Slovenian art. Because
we are the first point of contact with Slovenia for air passengers, and the
last when they leave, this mission has even greater significance.
We are at a turning-point for the company. Last year saw the 50th anniversary and a change in ownership. Furthermore, the airport business is
extremely dynamic, where great changes are taking place regionally and
globally. Our company is certain to face new changes in the near future,
some of which concern infrastructure. It therefore seems a particularly
apposite moment to celebrate Ciril Oblak and his work at the airport.
The company had mostly put together the core of the Aerodrom Ljubljana
art collection by the mid-nineties of the 20th century, although some works
were acquired more recently, albeit to a lesser degree. That it is representative and has substantive integrity can be attributed to the managers and outside advisors of that time, who understood that a country's main airport
could also be a gallery space suited to displaying national works of art and
culture. The exhibition of part of the Aerodrom Ljubljana art collection at
the Prešeren Award Winners Gallery alongside the celebration of Ciril
Oblak will show off our collection in another light, creating new relationships and adding new value to the collection itself. It is also a tribute to its
creators and an example of good cooperation with the local community.
We should not interpret it as an exhibition of a certain point in the past, but
rather as a bridge to the present. It gives us the opportunity to rethink and
redefine the art collection in a slightly different time and environment. It
also embodies Aerodrom Ljubljana's commitment to supporting Slovenian
art in the future.
Zmago Skobir,
President of the Management Board
of Aerodrom Ljubljana
Ciril Oblak
9
France Mihelič:
Kurentove maske, 1952,
olje na platnu, 65,5 x 92 cm /
France Mihelič: Kurent's
Masks, 1952, oil on canvas,
65,5 x 92 cm
Ciril Oblak
11
Peter Krečič
Ciril Oblak in Fedja Klavora,
nagrajenca Prešernovega sklada
za letališko stavbo na Brniku
in za tovarniško stavbo Gorenjskih oblačil
za leto 1975
Galerija Prešernovih nagrajencev za likovno umetnost Kranj opravlja posebno
poslanstvo, kakršnega nima nobena druga podobna ustanova na Slovenskem.
V središču njenega delovanja je, kakor pove že njeno ime, predstavljanje
Prešernovih nagrajencev in nagrajencev Prešernovega sklada iz vrst likovnih
umetnikov. Glede na značaj Prešernovih priznanj, ki so najvišja državna priznanja umetnikom za njihovo izstopajoče ustvarjalno delo na področju kulture
in glede na to, da se njena dejavnost odvija v Kranju, ki nosi tudi naziv
Prešernovo mesto, je treba v tem delu njenega delovanja prepoznati pomemben, celo enkraten del nacionalnega kulturnega programa. V času, prepolnem
vsakovrstnih dogodkov, s katerimi nas z vseh strani dnevno zasipavajo različni
mediji, se mnoge pomembne informacije hitro izgubijo, prezrejo; mnoge so že
isti hip, ko se pojavijo, zapisane pozabi, dogodki s področja umetnosti in kulture pa prav gotovo v kakofoniji medijskega tekmovanja za vidnost, slišnost,
prepoznavnost, praviloma ne pridejo prav v ospredje. Neredko se šele pozneje
izkaže, kako prelomni so bili nekateri dogodki, kako velikih umetniških dejanj
je bil v določenem trenutku kdo sposoben, a se tega v svojem času nismo prav
zavedali. Nismo bili dovolj pozorni, šlo je mimo nas, utonilo je v pozabo, dokler nas ni kakšen poznejši dogodek opozoril na zamujeno. Pomembna kulturna
dejanja so stvar idej, tako ali drugače na umetniški način formuliranih idej. Za
ideje pa je znano, da so izredno trdožive in niso toliko odvisne od medijskega
prerivanja za ospredje družbene pozornosti kot od svoje kakovosti in moči
umetniške forme, prek katere se pojavljajo in bodo po svoji naravi vedno
iznašle način, kako se bodo znova pojavile. Galerija Prešernovih nagrajencev
je prevzela svojevrstno medijsko vlogo, ki nas po letih, desetletjih znova spomni na velike umetniške dosežke slovenskih umetnikov, dobitnikov Prešernovih
priznanj. Merilo Prešernove nagrade ali nagrade Prešernovega sklada je visoko
postavljeno kritiško merilo, ki je vsako leto v vsakokratnem trenutku našega
kulturnega življenja pomenilo svojevrstno jamstvo umetniške kakovosti in
družbene relevantnosti. Številni kritiki in poznavalci, ki so sodelovali v
Prešernovih ocenjevalnih komisijah, so v svoji vlogi stremeli k najvišjim, morda
celo absolutnim merilom kakovosti in umetniške prepričljivosti, a se je izkazalo, da tudi merilo Prešernovega priznanja ni absolutno. Vendar ostaja merilo,
merilo umetniškega ustvarjalnega uspeha in hkrati merilo uspešnosti kritiške
senzibilnosti in končne presoje.
Vrsta predstavitev umetnikov z ožje uokvirjene likovne dejavnosti, to je
slikarstva in kiparstva, nagrajenih s Prešernovimi priznanji, se je minulo leto
iztekla. Odločitev vodstva galerije, da nadaljuje s predstavitvami s področja
arhitekture in oblikovanja, je povsem logična in koristna, saj imajo številni,
celo za likovno umetnost občutljivi ljudje, težave pri prepoznavanju arhitekturnih kvalitet v našem grajenem okolju. Takšne težave je imel celo eden od
pobudnikov Prešernove nagrade Josip Vidmar, ki razen pri Jožetu Plečniku, v
sodobni arhitekturi ni videl kaj dosti več od običajnega gradbeništva. A prav
Plečnikova arhitektura in njegova splošna sprejetost med Slovenci je trdno
zasidrala arhitekturo med umetnosti, vrednih Prešernovih priznanj. Še več,
prek arhitekture, ki po svoji naravi združuje tehniko in uporabnost z umetnostjo, so se na seznamu nagrajencev upravičeno znašli tudi industrijski in
grafični oblikovalci. Čeprav je arhitektura že davno postala predmet muzejskih in galerijskih predstavitev, je vstop vanjo še vedno razmeroma težak.
Arhitektura potrebuje več časa za dojetje njene vsebine, več študija in pojasnjevanja, a daje tudi večje zadoščenje opazovalcu, ko naposled spozna njene
zakonitosti, njen jezik in naposled tudi njeno umetnostno sporočilo.
Glavna avla letališke
stavbe ob otvoritvi letališča
leta 1963 / Main Hall at
the opening of the airport
in 1963
Prva razstava iz novega cikla predstavitev arhitektov in oblikovalcev,
Prešernovih nagrajencev in nagrajencev Prešernovega sklada, v svojem jedru
prikazuje z nagrado Prešernovega sklada leta 1975 nagrajeno arhitekturo letališke stavbe na Brniku arhitekta Cirila Oblaka, dovolj znanega v svojem
domačem gorenjskem in še posebej kranjskem okolju, kar morda pomaga premoščati med domačim, bolj znanim arhitekturnim opusom in manj znanimi, ki
mu bodo sledili v naslednjih letih. Nagrado je prejel za prenovo in adaptacijo
Tovarniška stavba Gorenjskih
oblačil leta 1975 in mobilna
skulptura Slavka Tihca /
Factory building of Gorenjska
oblačila in 1975 and Slavko
Tihec's mobile skulpture
Ciril Oblak
13
Potniški terminal - pogled
s ploščadi / Passenger terminal - apron view
letališke zgradbe na Brniku, s sodelavcem Fedjo Klavora pa za tovarniško stavbo
Gorenjskih oblačil. Temu centralnemu delu razstave pa je dodana še razstava
likovnih del (30 del Prešernovih nagrajencev) iz zbirke Aerodroma Ljubljana in
še nekatere druge Oblakove realizacije ter nekaj izbranih načrtov, ki govorijo,
kako dolgo in poglobljeno se je arhitekt ukvarjal s svojim mestom, kraji na
Gorenjskem in celotno regijo, a pri tem, kot kaže, še ni rekel zadnje besede.
Z opustitvijo starega ljubljanskega letališča na ravnici med Mostami in Poljem
pri Ljubljani se je začela gradnja novega ljubljanskega letališča na Brniku.
Lokacijo so določili na podlagi večletnih obsežnih študij o klimatskih razme
rah, vetrovih, prometni dostopnosti in podobnem. Na severni strani vzletne
steze je nastalo razmeroma majhno poslopje za potnike notranjega in mednarodnega prometa in ob njem nadzorni stolp. Z nekaj nujnimi zgradbami so
poskrbeli tudi za tovorni promet. Prvo letalo je pristalo na Brniku 24. decembra 1963. Že kmalu se je pokazalo, da postaja gospodarska veja letalskega
transporta zelo obetavna, tako da je že leta 1968 letališka uprava izdelala
študijo o novih smereh razvoja letališča, katerega prva posledica je bila
odločitev za ureditev zbirnega centra za letalski prevoz, druga pa, da je treba
zgraditi tudi nov potniški terminal. Arhitekt prve prenove prvotnega letališke
stavbe je postal Ciril Oblak, ki je zasnoval povečanje in preureditev ter jo
uspešno končal leta 1973. Oblak se je potrudil in dosegel, da je bila prenovljena brniška stavba med bolj opaznimi letališkimi zgradbami tako v tedanji Jugoslaviji kot v tujini. Z velikimi letališkimi kompleksi, ki so tedaj že nastajali po Evropi, da o Ameriki niti ne govorimo, se ni dala meriti; prej bi jo
mogli uvrstiti med manjše letališke zgradbe, prilagojene tedanjim slovenskim
potrebam in zmožnostim. Vendar gre predvsem njenemu arhitektu zasluga, da
je pri prvi znatnejši povečavi letališča dojel njen simbolični pomen in ji dal na
zunaj podobo modernega, s sodobno fasadno oblogo v rjavem poliestru
učinkujočega objekta. Njegova poglavitna značilnost so bile plastično poudarjene členkaste horizontale, nanizane po višini v dolgih ozkih zaobljenih pasovih
ob še vedno dominantnem kontrolnem stolpu, ki je ostal edini nespremenjeni
preostanek prvotne letališke zgradbe. Po splošno sprejetem modernističnem
načelu, da se mora tudi oblikovanje notranjščine ravnati po uveljavljenem principu na zunanjščini, je arhitekt zlasti v oblikovanju osrednjih javnih prostorov
uvedel motiv dolgih, s poliestrskimi oblogami opremljenih horizontal. Pri
naslednji preureditvi in povečavi potniškega terminala v letih 1992 in 1993
je Oblak ostal zvest prvotni oblikovni zasnovi, torej dolgim, jasno potegnjenim in členjenim horizontalam in - gledano v prerezu - urejeni kompoziciji
različno visokih in širokih volumnov. Njegov izvorni, v vrsti pogledov odprti
Ciril Oblak
15
Letališka stavba iz
letališkega platoja in na
desni pogled na tedanji
dovozni del / Airport building from the apron and on
the right-hand side view on
the former driveway
način sestavljanja vzporednih tunelov z mehkimi, zaobljenimi vogali se je
izkazal za dovolj prožnega za učinkovito adaptacijo, ne da bi ogrozil prvotni
koncept. Kot se je pozneje izkazalo pri zadnji arhitekturni intervenciji pri potniškem terminalu leta 2007, je Oblakova ureditev dobro prenesla tako
razširitev stavbe proti jugu kot nove tako imenovane letalske mostove, premične cevne hodnike, ki vodijo iz letališke stavbe neposredno v letalo.
Temeljna zasnova je torej omogočila nadaljnjo rast, a hkrati opozorila na "naravne" omejitve takšnega vzorca širjenja. Na tej točki je bilo treba razmisliti o
povsem novi zasnovi, morda selitvi na drugo, južno stran letališča in zastaviti nov razvojni ciklus ljubljanskega letališča v celoti. Oblakov osebni in živi
odnos do klasičnih likovnih disciplin je botroval že pri prvi preureditvi
brniške letališke stavbe za slovenske prilike izjemni zamisli, namreč, da bi
javne prostore letališkega terminala opremili s kakovostnimi deli slovenskih
slikarjev in kiparjev. Misel je preprosta in morda za današnji čas še bolj
pomembna kot pred nekaj desetletji: letališka stavba so simbolična vrata v
svet, a so tudi odprta vrata v fizični in duhovni prostor Slovenstva, ki ga
morejo ob arhitekturi letališke zgradbe primerno predstaviti tudi izbrana
sodobna dela slovenske umetnosti.
Prav v istem času prve preureditve potniškega terminala na Brniku leta 1972 in
1973 je nastala tudi stavba tovarne Gorenjska oblačila v Kranju. Pod prvim načrtom se podpisuje Ciril Oblak, pod načrtom tovarne pa Ciril Oblak in sodelavec
Fedja Klavora. Oblak je zasnoval že njeno urbanistično umestitev ob tedanji Cesti
JLA, danes Bleiweisovi cesti 30. Kako pomembna je bila za Oblaka notranja
oprema objekta se vidi po številu sodelavcev, ki jih je pritegnil k sodelovanju:
Fedjo Klavora, Petra Zidaniča in druge, pa tudi po posebnem naporu, ki ga je,
podobno kot pri opremljanju letališke zgradbe, posvetil likovnemu opremljanju
tovarniških prostorov. Za to nalogo je pridobil uveljavljenega umetnostnega
zgodovinarja in kritika Staneta Bernika. Tovarniški kompleks sestoji iz dveh
razmeroma samostojnih stavbnih teles, velike proizvodne dvorane in trgovine v
njenem preddverju ter manjše upravne stavbe. Povezuje ju mali vezni trakt z
vhodno vežo, vstopoma v obe stavbni enoti in stopniščem, ki vodi v njuni nadstropji. Proizvodna dvorana je vsebovala v pritličju skladišča surovin in končanih
izdelkov, v nadstropju pa je bila proizvodna dvorana, razdeljena na nekaj oddelkov, pač v skladu s tehnološkimi zahtevami izdelovanja oblačil. Upravno
poslopje je vsebovalo v pritličju kolekcijsko sobo in oddelek komerciale, v nad-
Prerez letališke stavbe in spodaj
tloris letališkega kompleksa /
Cross-section of the airport
building and at the bottom
diagram of the airport complex
spodaj: Fotografije prvotne
notranjosti stavbe / at the
bottom: Photographies
of the original interior of
the building
Ciril Oblak
17
Pogled na severozahodni
zaključek stavbe / View on
northwest end of the building
stropju pa prostore za vodstvo tovarne. Temu funkcionalnemu programu je sledilo oblikovanje objekta: gladki betonski podstavek pritličja z okroglimi okenskimi
odprtinami in vrati na daljših stranicah ter zastekljenimi krajšimi stranicami.
Nadstropna previsna etaža pa je bila pretežno oblečena v prefabricirano
zemeljsko rjavo poliestrsko oblogo (po avtorju "barva sosednjega zoranega
polja"), ter je puščala potrebne obsežne izreze za okenske trakove. Oblika
montažnih fasadnih elementov na sklenjenih fasadnih površinah je po avtorjevi
zamisli prispodoba tkanine. Arhitekturna posebnost objekta je vhod v obliki prerezanega betonskega profila z mehko uvitimi vogali, ki vpeljuje koncept "arhitekture prereza", kakor ga za obe zgradbi v prispodobi poimenuje avtor. Modularna
zasnova delov stavb je model horizontalno položenih profilov HOP (hladno
oblikovani jekleni profili) različnih prerezov in dolžin. Tudi fasade obeh stavb z
montažnimi elementi iz armiranega poliestra so koncipirane modularno. Za
fasadne elemente je Oblak prejel tudi častno nagrado Bienala industrijskega
oblikovanja BIO 6 v Ljubljani 1975. V tistem času je stavba izstopala po preprostih, vendar likovno učinkovito uporabljenih motivih, kontrastu med gladkim
podstavkom in plastično drobno členjeno in barvito previsno nadstavbo. Bila je
resnično zgleden sodobni objekt. V javnosti pa je najbolj odmevala odločitev
vodstva, da novi kompleks sistematično in strokovno vodeno opremi z deli
sodobnih slovenskih slikarjev in kiparjev. V tedanji Jugoslaviji je bil to verjetno
edinstveni umetnostni eksperiment, pri katerem je bilo zlasti pomembno, da so
kakovostna umetniška dela, tudi primerno večjih formatov, prišla na stene
proizvodnih oddelkov in ne le v sobe vodstva. Avtor koncepta likovnega opremljanja Stane Bernik je tedaj zapisal: "Likovno urejeno okolje tovarne notranje in
zunanje, pa bo tudi gostom, kupcem in poslovnim partnerjem prepričljivo govorilo o kulturni stopnji proizvajalcev, ki zmorejo preseči običajne tržiščne kriterije,
ki konec koncev ne morejo biti edina načela delavčevega ravnanja in družbenega interesa, zlasti če poskušamo problem ovrednotiti s stališča delavčevega
osveščanja in ustvarjalnega vraščanja v proizvodni proces."
Obe deli Cirila Oblaka in sodelavcev sta torej v svojem času pomenili arhitekturno inovativnost, izvedbeno zanesljivost in splošno prepričanje o potrebni
kakovosti, namenjeni uporabnikom in širši javnosti - torej občutku odgovornosti
arhitekta za javno dobro.
Peter Krečič
Ciril Oblak in Fedja Klavora,
winners in 1975 of a Prešeren Fund Award
for the airport building at Brnik
and the Gorenjska Oblačila factory building
The Prešeren Award Winners Gallery in Kranj performs a special mission,
one that it shares with no other institution in Slovenia. The essence of its mission, as its name suggests, is to present the winners of Prešeren Awards and
Prešeren Fund Awards from the ranks of fine artists. Given the nature of the
awards awarded in Prešeren's name - the highest honour that the country can
give to artists as an acknowledgement of their outstanding creative work in
the cultural sphere - and in view of the fact that the gallery's activities take
place in Kranj, which also bears the epithet "Prešeren's town", this aspect of
its work needs to be seen as an important, if not unique part of the national
cultural programme. In an age that is brimful of events of every kind, with
which we are besieged on all sides by a variety of media on a daily basis, a
great deal of important information is rapidly lost or overlooked; much of it
is consigned to oblivion the moment it appears; in the midst of the media
cacophony represented by the competition for visibility, audibility and recognisability, there is no denying that events in the sphere of art and culture do
not as a rule make their way to the foreground. It is often the case that the
momentousness of certain events only becomes apparent after the fact; only
later does it become clear what great artistic achievements someone was
capable of at a given moment, and yet we failed to properly realise it at the
time. We do not pay enough attention, it passes us by, it drowns in oblivion,
until some later event draws our attention to what we have missed. Important
cultural actions are a matter of ideas - ideas that in one way or another are
formulated in an artistic manner. We know, however, that ideas are extremely hardy things. They are not as dependent on their ability to push their way
to the foreground of society's attention via the media as they are on their quality and the power of the artistic form via which they appear. And by their
nature they will always contrive to appear again. The Prešeren Award Winners
Gallery has taken on a unique role as a medium which, years or even decades
after the fact, reminds us once again of the great achievements of those
Slovene artists who have won the awards named in honour of Prešeren. The
criterion for a Prešeren Award or a Prešeren Fund Award is a lofty critical criterion that every year, in every moment of our cultural life, has meant a
unique guarantee of artistic quality and social relevance. The many critics and
connoisseurs who have sat on the award committees have taken their role
extremely seriously, fixing their gaze on the highest - perhaps even absolute criteria of quality and artistic persuasiveness. And yet it has turned out that not
even the criterion of a Prešeren Award is absolute. One criterion does, however, remain: that of artistic success. At the same time there is also the criterion of critical sensibility and definitive judgement.
Ciril Oblak
19
The series of presentations of artists from the narrowly circumscribed field of
fine art - i.e. painting and sculpture - who have won Prešeren Awards or
Prešeren Fund Awards came to an end last year. The decision of the gallery's
management to continue with presentations from the field of architecture and
design is an entirely logical and useful one, since many people, even those
of artistic sensibility, have difficulty recognising architectural qualities in our
built environment. Such difficulties were even shared by one of the original
promoters of the Prešeren Award, Josip Vidmar, who was unable to see in
contemporary architecture - with the exception of the works of Jože Plečnik anything more than mere building work. It was in fact Plečnik's architecture
and his widespread acceptance among the public in Slovenia that firmly
established architecture among the arts deemed worthy of a Prešeren Award.
Moreover, via architecture, which by its nature combines engineering expertise and functionality with art, the list of award winners has - rightly - broadened to include industrial and graphic designers. Although architecture has
long been the subject of presentations in museums and galleries, it is still relatively difficult to find a way into it. Architecture needs more time for us to
understand its content, it requires more study and explanation, but it also
gives greater satisfaction to the observer when he or she finally comes to
understand its laws, its language and, at last, its artistic message.
Dostop do potniškega
terminala / Access to the
passenger terminal
The first exhibition from the new cycle of presentations of architects and
designers who have won Prešeren Awards and Prešeren Fund Awards has at
its centre the architecture of the airport building in Brnik by Ciril Oblak, the
winner of a Prešeren Fund Award in 1975. Oblak is sufficiently well known
in his local Gorenjska environment, and in particular in Kranj, which perhaps
helps bridge the gap between his better-known architectural work in the local
area and the less well known creations that have followed it. He received the
award for his renovation and adaptation of the airport building in Brnik and
for the Gorenjska Oblačila clothes factory (with Fedja Klavora). This central
part of the exhibition is complemented by an exhibition of works of art
(including 30 by Prešeren laureates) from the collection of Aerodrom
Ljubljana, a number of other works by Oblak and some selected designs that
reveal the architect's long and profound involvement with his hometown,
other locations in Gorenjska and the wider region, with regard to which it
appears that he has still not said the last word.
With the closure of the old Ljubljana airfield located between Moste and
Polje, work began on the new Ljubljana airport at Brnik (today's Ljubljana
Jože Pučnik Airport). The location was chosen following several years of
extensive studies covering meteorological conditions, winds, access, etc. A
relatively small building for domestic and international passengers was built
to the north of the runway. A control tower was built next to it. A few essential buildings were also provided for cargo operations. The first aircraft landed at Brnik on 24 December 1963. It quickly became apparent that the commercial branch of aviation was a highly promising one. Accordingly, in 1968,
the airport management commissioned a study of new areas of development
for the airport, the first result of which was the decision to create a hub for
air traffic. The second was the realisation that a new passenger terminal was
required. The architect chosen to carry out the first renovation of the original
airport building was Ciril Oblak. He drew up the plans for the enlargement
and rearrangement of the terminal and successfully completed the work in
1973. Oblak wanted the renovated Brnik building to be among the more
striking airport buildings of the period, whether in what was then Yugoslavia
or abroad, and in this he was successful. It cannot of course be compared to
the huge airport complexes that were already appearing around Europe, and
far less with those in America; it should instead be viewed as an example of
a smaller airport building, of a kind appropriate for Slovenia's needs and
capacities at that time. It is nevertheless to the architect's great credit that in
the first significant enlargement of the airport he understood its symbolic importance and gave it the outward
appearance of a modern structure with a contemporary
façade clad in brown fibre-reinforced polyester (FRP).
Its principal feature were the horizontals, accentuated by
moulded details, placed one above the other in long,
narrow bands with rounded edges, against the existing
dominant of the control tower, the one feature of the
original airport building to remain unchanged. In line
with the generally accepted modernist principle that the
design of the interior should follow the principle established by the exterior, the architect introduced the motif
of long horizontals with FRP panels, particularly in the
design of the main public spaces. During the next
rearrangement and enlargement of the passenger terminal in 1992 and 1993, Oblak remained faithful to his
original formal concept, in other words to long, clearly drawn and articulated horizontals and - viewed in cross section - an orderly composition of volumes of different heights and widths. His original and in many ways open
method of composing parallel tunnels with soft, rounded corners proved to
be sufficiently flexible for effective adaptation without threatening the origiCiril Oblak
21
Vhod v letališko stavbo /
Entrance into the airport
building
Okenca letalskih družb /
Airline companies' desks
Avla potniškega terminala - današnji izgled / Passenger terminal hall - today's appearance
nal concept. As it later proved during the last architectural intervention on the
passenger terminal in 2007, Oblak's arrangement was well able to sustain
both the expansion of the building towards the south and the new "air
bridges" - the mobile tubular corridors leading from the airport building
directly to the aircraft. The basic design therefore enabled further growth,
while at the same time drawing attention to the "natural" limitations of this
model of expansion. At this point it became necessary to consider an entirely new design, perhaps a move to the other (south) side of the airport, and
to begin a new development cycle for Ljubljana Airport as a whole. Oblak's
personal and vital relationship with traditional artistic disciplines bore fruit,
at the time of the first renovation of the Brnik airport building, in a remarkable idea: that of adorning the public spaces of the terminal with fine works
by Slovene painters and sculptors. The idea is a simple one and yet perhaps
even more significant today than it was decades ago: the airport building is a
symbolic door onto the world, but it is also an open door into the physical
and spiritual space of Sloveneness, which can be represented by selected contemporary works of Slovene art as well as by the architecture of the airport
building itself.
The Gorenjska Oblačila factory building in Kranj dates from 1972 and 1973,
the same period as the first renovation of the passenger terminal at Brnik.
The original design was drawn up by Ciril Oblak, while the actual plans for
the factory were the work of Ciril Oblak and Fedja Klavora. Oblak had
already planned the siting of the building on what was then known as Cesta
JLA (Yugoslav People's Army Road). The building's address today is
Bleiweisova cesta 30. The importance that Oblak attached to the interior fittings of the building is apparent from the number of collaborators he invited
to work with him, among them Fedja Klavora and Peter Zidanič, and also
from the special attention he paid, just as in the airport building, to the artistic decoration of the factory premises. To assist with this task he engaged the
noted art historian and critic Stane Bernik. The factory complex consists of
two relatively independent buildings: a large production hall with a shop in
its foyer, and a smaller administrative building. They are joined by a small
connecting wing that contains the entrance hall, the entrances to the two
buildings and the staircase leading to the upper floors. The ground floor of
the production hall contained warehouses for raw materials and finished
products. The production area itself, divided into several departments in
accordance with the technological requirements of the manufacturing
process, was located on the first floor. The ground floor of the administrative
building contained the showroom and the commercial department. The management offices were located on the first floor. The design of the building followed this division of functions: the smooth concrete base of the ground
floor, with round windows and doors along its longer sides and glazed shorter sides. Above it, the overhanging first floor was mainly clad in prefabricated earth-brown FRP panels ("the colour of the neighbouring ploughed field"
according to the architect), with the necessary gaps for the long bands of windows. The form of the prefabricated elements on the continuous surfaces of the
façades was designed to symbolise fabric. A notable architectural feature of the
building is the entrance in the form of a cut concrete profile with softly curved
Ciril Oblak
23
Čakalnica z izhodi na letališki plato / Waiting lounge with gates to the apron
levo:
Detajl stropa v VIP salonu / left: Ceiling detail of the VIP lounge
Ciril Oblak
25
Ciril Oblak
27
Prostor za prevzem prtljage / Baggage claim
Ciril Oblak
29
Letališki plato / Apron
desno: VIP salon / right:
The VIP lounge
corners, which introduces the concept of the "architecture of the cross section", as the architect allegorically describes it for both buildings. The modular design of the parts of the building is a model of horizontally placed coldformed steel profiles of different cross sections and lengths. The façades of
both buildings, featuring prefabricated FRP elements, are also conceived
modularly. The façade elements won Oblak a design excellence award at the
6th edition of the Biennial of Industrial Design (BIO 6) in Ljubljana in 1975.
At that time the building was notable for the simplicity of its thematic elements, which were nevertheless deployed with artistic effectiveness, and for
the contrast between the smooth base structure and the minutely detailed and
colourful overhanging superstructure. It was a truly exemplary modern building. Among the general public, the biggest stir was caused by the management's decision to fill the new complex with works by contemporary Slovene
painters and sculptors - in a systematic manner and following the guidance of
experts. This was perhaps a unique artistic experiment in the Yugoslavia of
that time, and it is particularly significant that high-quality works of art,
including some of large format, appeared on the walls not only of the management offices but also of the manufacturing departments. Stane Bernik,
who was responsible for the art programme, wrote at the time: "The artistically arranged environment of the factory, both inside and out, will also give
visitors, customers and business partners a convincing indication of the cultural level of the manufacturers, who are capable of going beyond the usual
criteria of the market, which cannot in the end be the only principles of a
worker's behaviour and social interest, especially if we endeavour to evaluate the problem from the point of view of the worker's awareness and creative involvement in the production process."
Both works by Ciril Oblak and his collaborators therefore represented architectural innovation, reliability of execution and a general belief in the need
for quality solutions for users and the public - in other words the architect's
sense of responsibility for the public good.
Ciril Oblak
31
Andrej Jemec
Likovna zbirka
Aerodroma Ljubljana
VIP salon z likovno opremo
v ozadju / The VIP lounge
with artworks in the back
Današnji pogled na likovno opremo Aerodroma Ljubljana, ki je bila v nekem
smislu zaključena v letu 1995, mi v spomin prikliče nekaj stvari, ki bi jih omenil v tem kratkem zapisu.
Arhitekt Ciril Oblak je kot avtor letališke arhitekture na Brniku v tistem času
končal in zaokrožil svoje inovativno delo. V mislih imam njegov zanimivi
princip modularnega sistema gradnje, ki ima na umetniško ustvarjalnem
področju tistega časa sorodno ustvarjanje objektov, imenovanih multipli.
Nepogrešljivo ekipno sodelovanje z arhitektom in celotnim vodstvom gradnje, ko je šlo za likovno opremo Brnika, v katerega sem bil takrat vključen,
je terjalo upoštevanje vrste pomembnih in specifičnih dejavnikov tega svojevrstnega največjega slovenskega okna v svet, aerodroma Ljubljana. Gledano
s širšega zornega kota je že samo izjemno lepo naravno okolje Brnika tisti
prvi okvir, ki je sami arhitekturni stvaritvi tako po zunanjosti kot tudi v
notranjosti narekoval vizualno oplemenitenje. Razumljivo, z odgovarjajočimi
likovnimi deli, ki naj pričajo o slovenski-kulturno-umetniško-duhovni identiteti zaledja tako pomembnega prostora, kot je mednarodno letališče.
Glede na namembnost prostorov je notranja členitev letališke zgradbe terjala
njihovi vsebini primerno upoštevanje izbora likovnih del, saj gre v tem pogledu za zelo velike razlike. Razumljivo je, da je omenjeni modularni sistem
specifične gradnje, ki temelji na sestavljanju in bi ga lahko imenoval "iz malega raste veliko", narekoval posebnosti tudi pri samem izboru del. Zato so
modularnemu sistemu gradnje prostorov največkrat prilagojeni tudi formati
likovnih del.
Božidar Jakac: Rihard Jakopič, 1921, jedkanica,
27 x 15,5 cm / Božidar Jakac: Rihard Jakopič,
1921, etching, 27 x 15,5 cm
Ciril Oblak
33
Veno Pilon: Marij Kogoj,
1923, jedkanica,
30,2 cm x 24,3 cm /
Veno Pilon: Marij Kogoj,
1923, etching,
30,2 cm x 24,3 cm
Izbor del slovenske likovne umetnosti se začenja z imeni kot so Karel Putrih,
Zoran Mušič, Veno Pilon, Gojmir Anton Kos, Božidar Jakac, Riko Debenjak,
France Mihelič, Maksim Sedej, Marij Pregelj, Stane Kregar, Gabrijel Stupica,
Lojze Spacal in nadaljuje s številnimi mlajšimi umetniki …
Danes je jasno vsaj nekaj! Brez dobrega in uglašenega sodelovanja nas vseh s
takratnim vodstvom letališča, s Cirilom Oblakom, arhitektom projektantom in
pobudnikom likovne zbirke ter še posebej z dr. Ivanom Sedejem, ki je poskrbel
za vsa strokovna besedila, pa s številnimi kolegi umetniki, ki so razumeli, "kako
le iz malega lahko zraste nekaj velikega", v skromnih razmerah, kakršne so bile
takrat, ne bi v letu 1995 uresničili likovne zbirke in natisnili kataloga, ki skupaj
z izbranimi deli priča o njej.
Lojze Spacal: Rdeči krog in žbrinca, 1993,
mešana tehnika, 40 x 50 cm / Lojze Spacal:
Red Circle and Basket, 1993, mixed media,
40 x 50 cm
Jože Ciuha: Arhetip poletnega jutra, 1993,
gvaš na papirju, 40,2 x 40,2 cm / Jože Ciuha: Archetype
of a Summer Morning, 1993, gouache on a paper,
40,2 x 40,2 cm
Ciril Oblak
35
Andrej Jemec
Aerodrom Ljubljana
art collection
Lojze Logar:
Nad Davidovim breznom,
1993, barvni sitotisk,
100 x 70 cm / Lojze Logar:
Above the Abbys of David,
1993, colour raster print,
100 x 70 cm
Today's viewing of the Aerodrom Ljubljana art collection, which in one sense
was completed in 1995, brings back certain memories for me that I would
like to briefly describe.
The airport at Brnik was really the crowning glory for the chief architect Ciril
Oblak and his innovative work at that time. I have in mind his fascinating principle of the modular construction system, which in the field of art and creativity of that time was related to the creation of structures known as multiples.
The unforgettable teamwork between the architect
and the entire project management team when it
came to outfitting Brnik in terms of art, in which I
myself was involved at that time, demanded the
application of a whole host of important and specific factors to Slovenia's largest window of the world,
Ljubljana Airport. From the broad point of view, the
extremely beautiful natural environment of Brnik
was the initial framework that dictated the visual
richness of the actual architectural creation in terms
of both its interior and exterior. It demanded understanding, and dialogue with works of art that bear
testimony of the Slovenian cultural, artistic and spiritual identity of the hinterland of an important space
such as an international airport.
Metka Krašovec:
Sprehod, 1972, barvni sitotisk, 44 x 57 cm / Metka
Krašovec: Taking a Walk,
1972, colour raster print,
44 x 57 cm
Vinko Tušek:
Magični vrt 1, 1994, akril
na lesu, 170 x 170 cm /
Vinko Tušek: The Magic
Garden 1, 1994, acrylic on
wood, 170 x 170 cm
The interior demarcation of the airport building according to use required the
selection of works of art that substantively suit the interior spaces, as there is
major variation in this respect. It is understandable that the aforementioned
modular system of specific construction, which is based on composition and
could be described as "the large rises out of the small", dictated certain
aspects of the actual selection of works. The formats of the works of art were
therefore most often tailored to the modular system of construction.
The selection of works of Slovenian art begins with names such as Karel Putrih,
Zoran Mušič, Veno Pilon, Gojmir Anton Kos, Božidar Jakac, Riko Debenjak,
France Mihelič, Maksim Sedej, Marij Pregelj, Stane Kregar, Gabrijel Stupica and
Lojze Spacal, and continues with countless younger artists...
Today at least one thing is clear. Without the fruitful and committed cooperation between all of us and the senior executives of the airport at that time,
with Ciril Oblak, the architect and curator of the art collection, in particular
with Dr Ivan Sedej, who provided all the texts, and with numerous fellow
artists who understood how "the large rises out of the small", in 1995 we
would not have put together the art collection or printed the catalogue that
captures the selected works so well in the modest circumstances of the time.
Ciril Oblak
37
Barbara Kalan
Biografija
Ciril Oblak se je rodil leta 1934 v Kranju. Osnovno šolo je obiskoval na
Primskovem pri Kranju in leta 1955 dokončal gimnazijo v Kranju. Leta 1961 je na
Fakulteti za arhitekturo, gradbeništvo in geodezijo v Ljubljani diplomiral pri profesorju Edu Mihevcu in se po odsluženem vojaškem roku zaposlil pri Projektivnem
podjetju Kranj, kjer je bil zaposlen do leta 1969. Nato je ustanovil Arhitekt biro
SGP Tržič s sedežem v Kranju, kjer je deloval do leta 1975; med letoma 1975 in
1990 je deloval v podjetju Slovenija projekt Ljubljana. Med letoma 1990 in 1997
je imel status samostojnega kulturnega delavca, leta 1999 pa je ustanovil lastno
podjetje A B O d.o.o.
V ospredju arhitekturnega delovanja Cirila Oblaka je projektiranje poslovnih in
stanovanjskih stavb, občasno pa se ukvarja tudi z urbanizmom. V času delovanja
v Projektivnem podjetju Kranj in Arhitekt biroju SGP Tržič je bilo njegovo delo
osredotočeno predvsem na Tržič. Med njegovimi najbolj izstopajočimi deli v Tržiču
so Urbanistični program občine Tržič in Urbanistični načrt mesta Tržič, Paviljon
NOB, blagovnica Mercator, pošta Tržič, stanovanjski bloki v Bistrici pri Tržiču ter
osnovni šoli v Bistrici in Križah pri Tržiču, medtem ko je v Kranju v tem času projektiral Dom upokojencev, osnovno šolo v Predosljah pri Kranju, letališki terminal
na Brniku in tovarno Gorenjska oblačila. V Kočevju je sprojektiral manjšo blagovnico, v Šmarju pri Jelšah osnovno šolo in v Ljubljani upravno stavbo inšpekcijskih
služb. Izdelal je urbanistični načrt Jezersko in ureditveni načrt za naselje Jezersko.
V obdobju med letoma 1975 in 1990 je pripravil Ureditveni načrt za rekreacijski
center Učan pri Kranju, načrte za prizidek k občinski stavbi v Kranju, prizidek
pošte na Bledu, povečavo osnovne šole v Predosljah, pošto v Železnikih, večnamensko dvorano z umetnim drsališčem na Gorenjskem sejmu na Savskem otoku
v Kranju ter industrijske objekte za tovarno Exoterm v Kranju. V Slovenija projektu je projektiral za Aerodrom Ljubljana, Exoterm, Pošto Slovenije in vodil je velik
ponudbeni projekt za izgradnjo in zasnovo urbanizma za mesto Al Kaim v Iraku s
50.000 prebivalci. Najpomembnejši arhitekturni projekti v okviru A B O d.o.o. so
industrijski objekti in urbanistične ureditve za tovarno Exoterm v Kranju, povečava osnovne šole v Bistrici pri Tržiču ter v Predosljah pri Kranju, adaptacija portala Okrajnega sodišča v Škofji Loki, adaptacija stavbe za brezdomce na Sejmišču 4
v Kranju in spomenik prisilno mobiliziranim v nemško vojsko na pokopališču v
Kranju. Leta 2009 je Ciril Oblak v Kranju zasnoval tudi idejni projekt za podzemne
garažne hiše in ureditev Slovenskega trga.
Najbolj znano Oblakovo arhitekturno delo je preureditev in povečava letališkega
terminala Brnik (danes Letališče Jožeta Pučnika). Ciril Oblak se je letališkemu
stavbnemu kompleksu posvečal v letih 1971-1973, 1978, 1988-1997 in od leta
1999 dalje. Prav v času prve preureditve potniškega terminala na Brniku leta 1972
in 1973 je Ciril Oblak skupaj s Fedjo Klavora pripravil načrte in izvedbo stavbe
tovarne Gorenjska oblačila v Kranju.
Ciril Oblak je za fasadne elemente iz armiranega poliestra na fasadi letališke stavbe
na Brniku in na fasadi tovarne Gorenjska oblačila v Kranju leta 1975 prejel častno nagrado BIO6. Prav tako leta 1975 je prejel nagrado Prešernovega sklada za
letališko stavbo na Brniku in skupaj s Fedjo Klavora za arhitekturo tovarne
Gorenjska oblačila v Kranju.
Ciril Oblak živi in deluje na Primskovem pri Kranju.
Literatura:
Damir Globočnik: O arhitekturnem ustvarjanju Cirila Oblaka. V: Vasi v objemu žitnih polj: Primskovo,
Klanec in Gorenje: sprehod skozi čas od zgodovine do današnjih dni. Krajevna skupnost, Primskovo
2010, str. 304-309.
Enciklopedija Slovenije, 8. zvezek, Nos-Pli. Mladinska knjiga, Ljubljana 1994, str. 58.
Likovna enciklopedija Jugoslavije, 2. zvezek, K-Ren. Jugoslavenski leksikografski zavod "Miroslav Krleža",
Zagreb 1987, str. 488.
Osebnosti: veliki slovenski biografski leksikon, M-Ž. Mladinska knjiga, Ljubljana 2008, str. 765.
Ciril Oblak
39
Barbara Kalan
Biography
Ciril Oblak was born in Kranj in 1934. He attended elementary school in
Primskovo, today part of Kranj, and in 1955 graduated from the gymnasium in
Kranj. In 1961 he graduated from the University of Ljubljana, having studied
under Edo Mihevc at the Faculty of Architecture, Civil Engineering and Surveying.
After completing his military service he joined architectural design company
Projektivno Podjetje Kranj, where he remained until 1969. He then founded the
Kranj-registered architectural studio Arhitekt Biro SGP Tržič, where he worked
until 1975. Between 1975 and 1990 he worked at Slovenija Projekt Ljubljana.
Having worked on a freelance basis from 1990 to 1997, he founded his own company Arhitekt Biro Oblak (ABO) in 1999.
At the forefront of Ciril Oblak's architectural work is the design of office and residential buildings, although he occasionally also undertakes urban planning projects. During his years at Projektivno Podjetje Kranj and Arhitekt Biro SGP Tržič,
his work was mainly focused on the town of Tržič. His notable projects in Tržič
include the Urban Planning Programme of the Municipality of Tržič and the Urban
Development Plan for Tržič, the National Liberation Struggle Pavilion, the
Mercator department store, the post office, residential blocks in Bistrica pri Tržiču
and the elementary schools in Bistrica pri Tržiču and in Križe near Tržič. In the
same period his projects in Kranj included the old people's home, the elementary
school in Predoslje, the airport terminal at Brnik and the Gorenjska Oblačila
clothes factory. He also designed a small department store in Kočevje, an elementary school in Šmarje pri Jelšah and an administrative building for the inspection services in Ljubljana. Other projects included an urban development plan for
the Jezersko area and a regulatory plan for the settlement of Jezersko. Between
1975 and 1990 he produced a regulatory plan for the Učan recreation centre outside Kranj and drew up plans for an extension for the municipal offices in Kranj,
an extension for the post office in Bled, an enlargement of the elementary school
in Predoslje, a post office in Železniki, a multi-purpose hall with ice rink as part of
the Gorenjski Sejem complex on the island in the Sava in Kranj, and industrial
buildings for the Exoterm factory in Kranj. At Slovenija Projekt he produced plans
for Aerodrom Ljubljana, Exoterm and Pošta Slovenije and led the bid team on a
major construction and urban design project for the town of Al-Qa'im in Iraq,
which at that time had a population of 50.000. ABO's most important projects to
date include industrial buildings and planning/regulatory work for Exoterm in
Kranj, an enlargement of the elementary school in Bistrica pri Tržiču and in
Predoslje near Kranj, an adaptation of the entrance to the district court building in
Škofja Loka, adaptation of the shelter for homeless people at Sejmišče 4 in Kranj,
and a monument to those forcibly conscripted into the German army during the
Second World War at the cemetery in Kranj. In 2009 Ciril Oblak drew up outline
plans for underground car parks and the remodelling of Slovenski Trg (Slovenia
Square) in Kranj.
Oblak's best-known architectural work is the enlargement and renovation of the
passenger terminal at Brnik (today's Ljubljana Jože Pučnik Airport). Oblak has
worked on the airport complex in several different periods: 1971-1973, 1978,
1988-1997 and from 1999 onwards. It was while working on the first renovation
of the passenger terminal at Brnik (in 1972 and 1973), that Oblak, in collaboration with Fedja Klavora, designed and realised the Gorenjska Oblačila clothing factory in Kranj.
In 1975 Ciril Oblak received a design excellence award at the 6th edition of the
Biennial of Industrial Design (BIO 6) in Ljubljana for the façade elements in fibrereinforced polyester on the façades of the airport building in Brnik and the
Gorenjska Oblačila factory in Kranj. That same year he received a Prešeren Fund
Award for the airport building at Brnik and, with Fedja Klavora, for the architecture of the Gorenjska Oblačila factory in Kranj.
Ciril Oblak lives and works in Primskovo, Kranj.
References:
Damir Globočnik: O arhitekturnem ustvarjanju Cirila Oblaka [The architectural work of Ciril Oblak] In:
Vasi v objemu žitnih polj: Primskovo, Klanec in Gorenje: sprehod skozi čas od zgodovine do današnjih
dni [Surrounded by cornfields: Primskovo, Klanec and Gorenje, past and present]. Krajevna skupnost
Primskovo 2010, 304-309.
Enciklopedija Slovenije, vol. 8, Nos-Pli. Mladinska knjiga, Ljubljana 1994, 58.
Likovna enciklopedija Jugoslavije, vol 2, K-Ren. Jugoslavenski leksikografski zavod "Miroslav Krleža",
Zagreb 1987, 488.
Osebnosti: veliki slovenski biografski leksikon, M-Ž. Mladinska knjiga, Ljubljana 2008, 765.
Ciril Oblak
41
Ciril Oblak: Arhitektura Aerodroma Ljubljana
in njegova likovna zbirka /
Ciril Oblak: The Architecture of Aerodrom Ljubljana
and its art collection
Galerija Prešernovih nagrajencev za likovno umetnost Kranj /
Prešeren Award Winners of Fine Arts Gallery Kranj
19. marec-30. april 2015/19 March-30 April 2015
Organizacija razstave / Exhibition organized by: Marko Arnež, Brigita Zorec
Kustos razstave / Curator: dr. Peter Krečič
Postavitev razstave / Exhibition set up: Ciril Oblak, Brigita Zorec, Marko Arnež
Katalog izdal in založil / Catalogue published by: Zavod za turizem Kranj,
www.tourism-kranj.si
Zanj / Represented by: Branko Fartek, v. d. direktorja / acting director
Uvod/Foreword: Zmago Skobir, predsednik uprave Aerodroma Ljubljana, d.
d./President of the Management Board of Aerodrom Ljubljana, d. d.
Besedili/Texts: dr. Peter Krečič, Andrej Jemec
Biografija / Biography: mag. Barbara Kalan
Jezikovni pregled in korekture / Language revision: mag. Barbara Kalan, Bibi Misja
Prevod / Translation: Amidas
Fotografije / Photographs: Marko Tušek, Janez Kališnik, Jure Mežnaršič,
Aerodrom Ljubljana, d. d., osebni arhiv Cirila Oblaka / Ciril Oblak's personal archive
Oblikovanje / Design: Marko Tušek
Tisk / Printing: Tiskarna GTO Košir
Naklada / Print run: 350 izvodov / copies
Kranj, marec / Kranj, March 2015
Razstava je nastala v sodelovanju z Aerodromom Ljubljana, d. d. / The exhibition was
made in collaboration with Aerodrom Ljubljana, d. d.
Galerija Prešernovih nagrajencev
za likovno umetnost Kranj
www.gpn.kranj.si
Aerodrom Ljubljana, 1980 (foto / photo Jure Mežnaršič)
Delovanje galerije omogoča Mestna občina Kranj. / The functioning of the gallery is
made possible by the Muncipality of Kranj.