Status of monument -> National monument
Published in the “Official Gazette of BiH” no. 53/08.
Pursuant to Article V para. 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and Article 39 para. 1 of the Rules of Procedure of the Commission to Preserve National Monuments, at a session held from 4 to 10 July 2006 the Commission adopted a
D E C I S I O N
I
The historic monument of the Ashkenazi synagogue in Sarajevo is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).
The National Monument is located on a site designated as cadastral plot no. 795/1, cadastral municipality Sarajevo XIII (new survey), corresponding to c.p. nos. 85, 26, 24, Mahala CXIX, , Land Register entry no.CXIX/55, c.m. Sarajevo (old survey), City of Sarajevo, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina.
The National Monument is the property of the Jewish Ashkenazi Community in Sarajevo.
The provisions relating to protection measures set forth by the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina (Official Gazette of the Federation of BiH nos. 2/02, 27/02 and 6/04) shall apply to the National Monument.
II
The Government of the Federation of Bosnia and Herzegovina (hereinafter: the Government of the Federation) shall be responsible providing the legal, scientific, technical, administrative and financial measures necessary for the protection, conservation and presentation of the National Monument.
The Commission to Preserve National Monuments (hereinafter: the Commission) shall determine the technical requirements and secure the funds for preparing and setting up signboards with basic details of the monument and the Decision to proclaim the property a National Monument.
III
To ensure the on-going protection of the National Monument on the area defined in Clause 1 para. 2 of this Decision, the following protection measures are hereby stipulated:
- conservation and restoration works on the property, together with works designed to present the National Monument, making good the plot, and routine maintenance works and those necessary for the operation of the synagogue shall be permitted, subject to the approval the approval of the Federal Ministry responsible for regional planning (and under the expert supervision of the heritage protection authority of the Federation of Bosnia and Herzegovina;
IV
All executive and area development planning acts not in accordance with the provisions of this Decision are hereby revoked.
V
Everyone, and in particular the competent authorities of the Federation of Bosnia and Herzegovina, the Canton, and urban and municipal authorities, shall refrain from any action that might damage the National Monument or jeopardize the preservation thereof.
VI
The Government of the Federation, the Federal Ministry responsible for regional planning, the Federation heritage protection authority, and the Municipal Authorities in charge of urban planning and land registry affairs, shall be notified of this Decision in order to carry out the measures stipulated in Articles II to V of this Decision, and the Authorized Municipal Court shall be notified for the purposes of registration in the Land Register.
VII
The elucidation and accompanying documentation form an integral part of this Decision, which may be viewed by interested parties on the premises or by accessing the website of the Commission (http://www.aneks8komisija.com.ba)
VIII
Pursuant to Art. V para 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, decisions of the Commission are final.
IX
This Decision shall enter into force on the date of its adoption and shall be published in the Official Gazette of BiH.
This Decision has been adopted by the following members of the Commission: Zeynep Ahunbay, Amra Hadžimuhamedović, Dubravko Lovrenović, Ljiljana Ševo and Tina Wik.
No: 07.1-2-126/06-4
6 July 2006
Sarajevo
Chair of the Commission
Amra Hadžimuhamedović
E l u c i d a t i o n
I – INTRODUCTION
Pursuant to Article 2, paragraph 1 of the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, a “National Monument” is an item of public property proclaimed by the Commission to Preserve National Monuments to be a National Monument pursuant to Articles V and VI of Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and property entered on the Provisional List of National Monuments of Bosnia and Herzegovina (Official Gazette of BiH no. 33/02) until the Commission reaches a final decision on its status, as to which there is no time limit and regardless of whether a petition for the property in question has been submitted or not.
The Commission to Preserve National Monuments issued a decision to add the Urban Townscape of Sarajevo to the Provisional List of National Monuments under serial no. 546. The Ashkenazi synagogue is located within the Urban Townscape.
Pursuant to the provisions of the law, the Commission proceeded to carry out the procedure for reaching a final decision to designate the Property as a National Monument, pursuant to Article V of Annex 8 and Article 35 of the Rules of Procedure of the Commission to Preserve National Monuments.
II – PROCEDURE PRIOR TO DECISION
In the procedure preceding the adoption of a final decision to proclaim the property a national monument, the following documentation was inspected:
- Documentation on the location and current owner and user of the property;
- Data on the current condition and use of the property, including a description and photographs, data of war damage, data on restoration or other works on the property, etc.;
- Historical, architectural and other documentary material on the property, as set out in the bibliography forming part of this Decision.
The findings based on the review of the above documentation and the condition of the site are as follows:
1. Details of the property
Location
The Ashkenazi synagogue is in Hamdija Kreševljaković street (formerly Dobrovoljačka street), on the left bank of the Miljacka, Municipality Stari Grad (Old City), on c.p. no. 795/1, c.m. Sarajevo XIII (new survey), corresponding to c.p. nos. 85, 26, 24, Mahala CXIX, c.m. Sarajevo (old survey), City of Sarajevo.
Historical information
Large numbers of Sephardi Jews settled in the region following their expulsion from Spain in 1492. The earliest written evidence of Jews living in Sarajevo dates from 1557, in the form of a note in a court record of the Sarajevo Shari'a Court.
Ashkenazi Jews arrived from northern and eastern Europe only after 1878.
The Ashkenazi Jews differed from the Sephardim not only in their language, but also in their mind-set, professions, world view, culture and, to some extent, their rituals.
The Ashkenazim set up their own community in Sarajevo not long after settling in the city, and by 1879 they had already resolved to build a synagogue and form a Jewish society. Until the synagogue was built, they worshipped in private houses: in the former Vaso Miskin and Yugoslav National Army streets and, longest of all – as much as twenty years – in a two-storey house in Dobrovoljačka (Volunteers') street, owned by Paul Pađan (Gotovac, 1987, 27).
In September 1893, a plot was purchased for that purpose in Terezija (Dobrovoljačka street) (Dimitrijević, 1989, 144), now Hamdija Kreševljaković street.
The Ashkenazi Jewish Community or, as it was also known, the “Austro-Hungarian Jewish Community,” constituted about one fifth of the total Jewish population of Sarajevo. The others, the Sephardi Jews, had three synagogues in Sarajevo: the Great Synagogue (Il kal grandi) or Old Synagogue (Il kal ježu) dating from 1581, the New Synagogue (Il kal muevu), probably dating from the 1870s, and a third in Bjelave (Bet tefila) dating from about 1900-1901 (Krzović, 2004, 153).
The Ashkenazi synagogue was designed by architect Wilhelm Stiassny in 1895.(1) Since 1870 he had already designed a number of properties for which the investors were Jews (the synagogue in Leopoldgasse in Vienna, in 1893, and other synagogues built in Vienna in the 19th century), which is presumably the reason he was commissioned to design this building too.
When the Sarajevo Ashkenazi Community applied to the Provincial Government for a permit to build the new synagogue, supplying a copy of the project design, the Civil Engineering Department made certain objections, and required some changes to be made. These were to some extent taken into account in the new, 1901 design, which was by Karlo Pařik(2). (Dimitrijević, 1989, 146)
In March 1901 the Provincial Government of BiH gave its assent for a building permit to be issued for the synagogue of the “Austro-Hungarian Israelite Religious Community in Sarajevo.”
The builder was Ludwig Jungwirth, and the interior furbishments and paintings of the synagogue were the work of Ludwig Oisner.
On 30 September 1902 the building was completed and the first Ashkenazi synagogue in Sarajevo was consecrated. The consecration was carried out by Grand Rabbi Dr. Samuel Vesel (materials of the Jewish Community, 2006).
From the mid 16th century, the time of the first written evidence of Jews in Sarajevo, to the beginning of World War II, the number of Jews rose steadily; by late 1940 there were about 11,500 members of the Jewish community. At that time there were two Jewish Communities in Sarajevo (Sephardi and Ashkenazi), five synagogues (four Sephardi and one Ashkenazi), two primary and one secondary Jewish schools; and a Rabbinical seminary.
Although all the Sarajevo synagogue buildings still survive, this is the only one in which religious worship is performed. In the 1960s, alterations were carried out on the building, dividing it into two storeys and removing the columns of the gallery (Dimitrijević, 1989, 148).
2. Description of the property
The Ashkenazi synagogue in Sarajevo was designed and built in the pseudo-Moorish or mudejar style(3), a specific form of eclectic expression which emerged in Sarajevo a few years after the annexation by the Austro-Hungarian monarchy, in the late 19th century. The models for this style were mainly sought in Egyptian Islamic architecture, transposed to new buildings in Bosnia by the usual historicist eclectic method. One of the finest representatives of this architecture was Hans Niemeczek (the High School [ruždija] in Bendbaša, dating from 1885). At this time other architects in Sarajevo also adopted this eclectic method (Josip Vancaš – the Muhammedan National Reading Room in Bendbaša, Karl Pařik – the Shari'a School, Ćiril Iveković – the City Hall (Kurto, 1998, 34).
The decorative plastic elements that primarily constituted the pseudo-Moorish style throughout its presence in the architecture of BiH were adopted in line with the affinities of the architects themselves of various designs, taken from different stages in the development of Islamic art and its regional schools (mainly north African and Spanish Moorish architecture, the elements of which were the most extensively represented (Kurto, 1998, 36). “The Islamic or Moorish stylistic forms in the architecture of the Ashkenazi Jews are characteristic not only of the synagogues in regions where there was an Islamic population. What was of crucial importance was to enhance the spiritual, national and social emancipation of the Jews, who sought to participate as actively as possible in the life of their non-Jewish environment, since the Jews now freely emphasize their oriental origins (and the environment regards them as an oriental, non-European people), they quite often build monumental, richly decorated places of worship in the Egyptian, Moorish or some other eastern style.” (Krzović, 2004, 155)
The Sarajevo Ashkenazi Community was guided in its choice of a design for the synagogue by the aesthetic and ideological criteria of the countries and milieux from which its members had come to Sarajevo, and it is possible that the model was the pseudo-Moorish synagogue in Budapest, built in 1860, given the considerable influence of Hungary on Ashkenazi synagogue architecture in former Yugoslavia (Vojvodina, Slavonia, northern Croatia) (Gotovac, 1987, 28).
The pseudo-Moorish style is most evident on the Ashkenazi synagogue in Sarajevo in the relief ornaments of the façades, the window openings, the shape of the arches, and the murals in the interior. The spatial layout, however, is entirely modelled on the architecture of western Europe – the synagogue is somewhat longitudinal in plan, a triple-aisled building with a conch at the east end, and turrets at the four corners, topped by ribbed domes, so that the connection with church architecture cannot be regarded as negligible.
In 1895 Wilhelm Stiassny designed the Ashkenazi synagogue as a triple-aisled building with a gallery for women above the side aisles, opposite the ark.(4) The gallery was supported by ten metal (bronze) circular-section columns linked by beams. The rectangular area of the ark, with its niche for the Torah, semicircular inside and octagonal outside, was three steps higher than the naos. Opposite the ark was an antechamber with a staircase to the side leading to the gallery. The first floor, above the antechamber, was to be a meeting hall.
The cubic form of the building has a hipped roof. The facades are articulated by lateral projections, pilaster-strips, string courses between the floors, and an elaborate roof cornice. The corners are marked by onion domes. The interior and exterior decoration, based on Moorish models, is very flamboyant, and so arranged as to accentuate the openings, the ark and, in places, the solid wall surfaces. The horseshoe arches above the openings, decorative motifs and shape of the dome indicate direct borrowings from the Alhambra, but motifs from the Forster synagogue in Templgasse can also be observed, such as the treatment of the gallery on its metal columns, also to be seen in the latter synagogue (Dimitrijević, 1989, 145).
However, following the requirement by the Provincial Government's Civil Engineering Department that the design be altered, Karlo Pařik made a new design in 1901, in which the dimensions of the ground plan and layout remained unchanged. The position of the building parallel with Terezija street was also retained. In Pařik's design, the gallery staircase was relocated to the area north of the antechamber. The objection of the Civil Engineering Department to the floor level of the building was taken into account, and the footings are higher than in the original design. Although the Civil Engineering Department required that the Torah niche be altered, this was not done.
There were also changes to the floor joists – instead of exposed beams resting on consoles, there is a flat ceiling. However, the crucial alterations were to the interior and exterior appearance of the building. In Pařik's design, the rhythm of the window axes is denser, the horizontal string courses were left out, the windows of the ground and first floors were joined by decorations into vertical panels, and the towers at the corners were built up and the shape of the domes topping them was altered. The decoration of the walls, both in the interior and on the facades, was treated as a strict geometric composition covering, and dividing into sections, the entire wall surface. “The shape of the triangular-arched lintels and the decorations above the windows of the first floor are almost identical to the shape and motifs above the niches on the minaret of the Qaytbay tomb mosque in Cairo. The circular paired bands with interweavings inscribed in a square (Pařik's detail on the terminal cornice) form a motif adopted from the incrustations on the facades of some buildings in Damascus.” (Dimitrijević, 1989, 147) “The ribbed domes with a decorative band on the drum are very similar to the domes of the Sangar el-Gauli medresa in Cairo. The form of the capitals of the columns below the gallery is similar to that of the capitals of the half-pillars by the mihrab of the Qaytbay city mosque in Cairo.” (Dimitrijević, 1989, 148)
Pařik would have been familiar with the Cairo motifs from the studies of architect Aleksandar Wittek, following their use on the City Hall in Sarajevo, where Pařik managed the construction. He could have come to know of other motifs thanks to periodicals in Vienna that published original details from north African Islamic buildings (Dimitrijević, 1989, 148).
Ibrahim Krzović has a different explanation for the stylistic origins of the form of the synagogue. “The Sarajevo synagogue has no central dome, but the corner domes are reminiscent of the Byzantine symmetrical layout. The possibility that it was influenced by the Budapest synagogue has been suggested. However, the Byzantine component is largely concealed by the elaborate neo-Moorish decor and form. The absence of the central dome greatly diminished the religious symbolism of the building, so that the corner turrets and domes could lead one to think of the residences of Islamic rules, from which the narrow windows on the domes, typical of buildings in hot countries, derive. There is also the dentate frieze, the angles of the turrets indicated by grooves with capitals, the decorative elements of the rosettes, elaborate arabesque panels above the windows, flat and segmental arches in which there is neither the content nor the form of Judaic symbolism apart from the six-pointed stars on the finials of the domes, the stone plaques and stars on the west facade.” (Krzović, 2004, 155)
As is typical of buildings designed by architect Pařik, the first-floor windows are less heavily stylized, often with flat lintels topped by a blind lunette. There is particularly elaborate decoration above the second-floor windows or gallery. Biforal openings on the turrets end in trevoils. In parts of the building, floral and geometric decoration are treated as architectural mouldings, set into the wall plane like intarsia or carving. All the façades are decorated. The principal decorative elements are friezes with rosettes, floral motifs, bows with demi-orbs, and eaves details.
Similar decoration is to be found in the interior of the building (rich painted decoration with rather more modest architectural moulding often corresponding closely, in form and motifs, with the decorations on the facades) – halls: horseshoe and toothed arch above the altar, stylized keel-shaped arches above the windows, the rich decoration of the flat ceiling reminiscent of elaborate stucco and the carved ceilings of typical residential properties. The interior, formerly high-ceilinged, was later (1964) converted into a ground and a first floor.
Inside the building, to the east, facing Jerusalem, is the aron ha-kodesh, the holy ark in which the Torah is kept, separated from the central prayer hall by a transverse wall with a tall horseshoe arch from which the ark stood out.
The walls of the basement and the visible part of the footings to the height of the socle are of stone, 75-90 cm thick. The same material was used to build the piers in the basement. The stone socles of the south, east and west facades are built using blocks, while the north is built as a “cyclopean” wall.(5) All the remaining walls are brick-built, using 15 x 30 cm bricks, and are of varying thicknesses: 30, 50 and 75 cm.
The floor of the basement is of rammed earth. The ground floor is paved with vinyl tiles, and the first floor has a parquet floor composed of oak strips. The staircase landings are paved with terrazzo tiles.(6)
The ceiling in the basement is composed of steel girders and brick segmental arches. The ground floor ceiling was installed in 1964, using a braced structure of steel profile and reinforced concrete slabs. The first floor has a wooden ceiling.
In its design and inappropriately large size, the building known as Papagajka(7), which stands right next to the synagogue, has severely undermined the former appearance of the synagogue and even its importance in the townscape.
3. Legal status to date
The 1980 Regional Plan for Bosnia and Herzegovina, Stage B - valorization of natural, cultural and historical monuments, listed the Ashkenazi synagogue in Sarajevo as a Category II monument under the heading “Jewish synagogue on the Embankment.”
The Ashkenazi Synagogue and Jewish Community Centre on H. Kreševljaković stret are on the List of recorded, previously protected and protected immovable monuments of the cultural and natural heritage of Sarajevo Canton under no. 8202004E-1.
4. Research and conservation and restoration works
- in 1927, for the 25th anniversary of its construction and consecration, the synagogue was restored;
- in 1933, an office building for the Ashkenazi Jewish Community, library, accommodation for the rabbi and other ancillary services was erected on the west side of the synagogue;
- when marking the quadricentenary of the arrival of the Jews in BiH, in 1964-65, the synagogue was extended to provide additional height, enabling the first floor to be used for religious worship and the ground floor for the community's social life;
- in 1966, with the addition of the entrance lobby, the west facade of the synagogue lost its character as the «main» facade. The construction of a bridgeway between the synagogue and the Jewish Community building resulted in the destruction of the portal, to the additional detriment of the west facade;
- following these interventions, inexpert interventions were carried out on the actual facade of the property: spraying with plastic materials of some kind (teraplast, fasadplast, faasadex and so on), making it impossible to give the decorative and architectural mouldings the required fine finished;
- during and after the 1992-1995 war, the dilapidated roof cladding was replaced in its entirety by sheet copper.
5. Current condition of the property
Damage to the plaster surfaces and decorative mouldings, mainly caused by wear and tear, can be seen on the facades. The damage is such as to allow for their restoration.
The most serious damage is to be seen on the west facade, which was damaged in 1966 when the entrance lobby was built on.
As a result of inexpert interventions to the facade, the layers of mouldings that were a later addition to the property must be stripped from the facade and replaced.
On the east facade, ventilation holes have been pierced on the parapets of the second storey, and gas pipes have been installed.
On the west and east facades of the property, the decorative snow barriers are missing, though they have survived on the other facades of the property.
All the walls are sound, with no major structural damage. The only visible damage is the appearance of cracks in the plaster and damage to the decorative facade elements.
The floor/ceiling joists of the basement, ground floor and first floor show no deformation or signs of serious damage or cracks.
Visible damage to the interior of the building on the first floor (the ark area) can be seen on the upper reaches of the walls and above the windows, in the form of cracks in the plaster.
6. Specific risks
Potential risks (structural damage, atmospheric and capillary damp). The condition of the building should be monitored and care taken to ensure it is kept regularly maintained.
III – CONCLUSION
Applying the Criteria for the adoption of a decision on proclaiming an item of property a national monument (Official Gazette of BiH nos. 33/02 and 15/03), the Commission has enacted the Decision cited above.
The Decision was based on the following criteria:
A. Time frame
C. Artistic and aesthetic value
C.iii. proportions
C.iv. composition
C.v. value of details
D. Clarity (documentary, scientific and educational value)
D.iii. work of a major artist or builder
D.iv. evidence of a particular type, style or regional manner
E. Symbolic value
E.i. ontological value
E.ii. religious value
E.iii. traditional value
E.iv. relation to rituals or ceremonies
E.v. significance for the identity of a group of people
G. Authenticity
G.iii. use and function
G.vi. spirit and feeling
H. Rarity and representativity
H.ii. outstanding work of art or architecture
H.iii. work of a prominent artist, architect or craftsman
The following documents form an integral part of this Decision:
- Copy of cadastral plan;
- Copy of land register entry and proof of title;
- Photodocumentation;
- Drawings.
Bibliography
During the procedure to designate the monument as a national monument of Bosnia and Herzegovina the following works were consulted:
1966. Levy, Moritz, Sefardi u Bosni i Hercegovini (Sephardim in BiH), Bosanska biblioteka, Sarajevo, 1966.
1966. “Commemoration of the quadricentenary of the arrival of the Jews in Bosnia and Herzegovina”, Oslobođenje, 1966.
1980. Institute for architecture, town planning and regional planning of the Faculty of Architecture in Sarajevo, Regionial Plan for Bosnia and Herzegovina; Stage B - valorization of natural, cultural and historical monuments, Sarajevo, 1980.
1987. Gotovac, Vedrana, Sinagoge u Bosni i Hercegovini (Synagogues in BiH), exhibition catalogue, Sarajevo, 1987
1989. Dimitrijević, Branka, Arhitekt Karlo Pařik (Architect Karlo Pařik), dissertation, Faculty of Architecture of the University of Zagreb, 1989.
1997. Kurto, Nedžad, Sarajevo 1462 – 1992, OKO Printing House Ltd, Sarajevo, 1997.
1998. Kurto, Nedžad, Arhitektura Bosne i Hercegovine, “Razvoj bosanskog stila” (Architecture of Bosnia and Herzegovina, Development of the Bosnian style), International Peace Centre, Sarajevo, 1998
1999. Spasojević, Borislav, Arhitektura stambenih palata austrougarskog perioda u Sarajevu (Architecture of residential palaces of the Austro-Hungarian period in Sarajevo), Rabic, Sarajevo, 1999.
2000. Spasojević, Borislav, Arhitektura stambenih palata austrougarskog perioda u Sarajevu (Architecture of residential palaces of the Austro-Hungarian period in Sarajevo), Rabic, Sarajevo, 1999.
2005. Pelja, Nataša, “Elaborat za rekonstrukciju – restauraciju fasade Aškenaske sinagoge u Sarajevu” (Study for the reconstruction and restoration of the facade of the Ashkenazi synagogue in Sarajevo), Jewish Community, Sarajevo, 2005.
2006. Materials received from the Jewish Community, Sarajevo
(1) Wilhelm Stiassny, architect and civil engineering adviser, studied at the Polytechnic and the Fine Arts Academy in Vienna. Among the buildings he designed are the Jewish Hospital in (1870/75), the Jewish Institute for the Blind in Vienna (1871/72), the Rothschild Hospital in Smyrna (1875/76), the synagogue in Gablonz in Hungary (1886/87), the synagogue in Leopoldgasse in Vienna (1893), the synagogue in Weinberg near Prague, and the Jewish Orphanage in Vienna (1902/04) (Dimitrijević, 1989, 145).
(2) Karl Pařik (Veliš, Czech Rep., 4 July 1857 – Sarajevo, 16 June 1942) graduated from the Architecture Department of the Vienna School of Art, and then from the Academy of Fine Arts, Architecture Department, in Vienna in 1882, under Prof. Hansen. He worked for the state from 1886 until his retirement in 1916, in the Civil Engineering Department of the Provincial Government, Sector for High-Level Building. He taught at the State Technical High School in Sarajevo, teaching architectural drawing and the study of architectural forms during the academic years 1890/91 and 1919-20 (Spasojević, 1999, 202).
Karl Pařik is noted in particular for his commitment to the historical styles of the neo-Renaissance, neo-Gothic and so on. Although he did design some properties in other styles (the pseudo-Moorish etc.), to the end he remained true to academic eclecticism. His major works are the Pension Fund building, the City Assembly building, the Great High School building, the Orthodox seminary (now housing the Faculty of Economics), the Evangelist Church (now housing the Fine Arts Academy, the Beledija. His greatest success is the complex of buildings of the National Museum, dating from 1913 (Spasojević, 1999, 20)
(3) This is a marginal and quite late appearance of the style in the case of a synagogue; it was alaready widespread in central and western Europe in the 18th and 19th centuries (Gotovac, 1987, 28).
(4) The original text of this Decision uses the term sanctuary; however, since this is a Sephardi term, and Ashkenazi usage prefers the word ark (aron ha-kodesh, the holy ark). I have used the term ark as more appropriate to the description of this Ashkenazi synagogue (Trans.)
(5) A cyclopean wall is one built of huge, irregular blocks of stone.
(6) Terrazzo is a hard stone-aggregate and cement compound cast in situ, then ground and polished. It has the same characteristics as concrete slabs. In large areas, expansion joints are set at intervals.
(7) Designed by architect Mladen Gvozden in 1982.
|
