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The article describes the use of iron in industrial buildings constructed in the first industrial age in Rijeka. Since the middle of the 19th century, the structural use of cast iron in internal skeleton structures in place of timber created opportunities for improved functional design of these multi-storey buildings. The analysis of some buildings indicates a lack of experience in the application of new structural typologies, while in others it indicates experimental and innovative structural solutions which reflected the progress of science, technology and high-quality workmanship in that period. [ABSTRACT FROM AUTHOR]

The proclamation of Rijeka as a free port in 1719, and the construction of the lazaretto (naval quarantine station) of St Charles Borromeo in 1725, initiated the economic and urban development of Rijeka, which grew from a small coastal town into a significant centre of manufacturing and industry. With the lazaretto and the largest factory, a sugar refinery built in 1750, the city's first manufacturing zone was formed. In the second zone, along the Rječina River, in 1821 a paper mill was built, which in 1833 received the first steam engine, with which the industrialisation of the city began. This article describes the materials and structures of the industrial buildings that characterise this period. In proto-industrial and early industrial times, construction consisted mainly of massive stone and brick walls or masonry-vaulted structures. In the 19th century, buildings begin to adapt to the production processes, which influenced the development of a new architectural typology. The internal structures were made of wood, a readily available and inexpensive material, with which the builders already had extensive experience. [ABSTRACT FROM AUTHOR]

The article describes the oldest locations and buildings for the treatment of patients in Rijeka. According to historical sources, the first known site for health care and treatment was a hospital founded in the 14th or 15th century in the Old Town, in the St Sebastian Street, in which also existed a little church of the same name. It is not known for sure when the hospital was moved to a new location, to a house opposite the Church of the Assumption of the Blessed Virgin Mary. The Statute of Rijeka from 1530 mentions it under the name Hospital of St. Mary (hospitali Sanctae Mariae) but later changed its name to St. Spirit Hospital. It was named after the chapel located in the same block of buildings. As in the previous location, there was an orphanage and an almshouse within the hospital. The hospital and the orphanage operated in this building until 1822, when, at the initiative of the Municipality, they moved to Brajda, in an adapted complex of buildings of the former wax factory. The building of the former hospital has been adapted for residential use. At the end of World War II, the building was destroyed under aerial bombardment and later a new building was built in its place. [ABSTRACT FROM AUTHOR]

In the late 19th and early 20th centuries, a hospital for infectious diseases in the Zeniković area was operating in Rijeka as a hospital - subsidiary of the City Hospital of St. Spirit. After purchasing the property of the naval captain Dionysius Jakovčić, the existing buildings were adapted, and several other buildings, necessary for the organization of an infectious hospital, were constructed in the early eighties of the 19th century. The terrain and buildings were divided into clean and unclean areas. The main building was adapted to the main facilities for treatment and accommodation, while the smaller building was used for economic purposes. Due to the increase of the capacity at the turn of the century, further adaptations were made, larger wooden barracks and other temporary facilities were also constructed. The terrain of the hospital was linked to two ambitious projects of the hospitals in Rijeka, which were created at the beginning of the 20th century but were not realized. The hospital operated until the twenties of the 20th century when this department together with the City Hospital was moved to the former Naval Academy complex, while the hospital area was given a new purpose in the interwar and postwar periods. [ABSTRACT FROM AUTHOR]

Parallel with the design of the main city hospital of Rijeka, architect Francesco Mattiassi between 1908 and 1912 made the project for the Infectious disease hospital which had to replace existing hospital - subsidiary. After some years of disputes regarding the location, decision was reached to place the new hospital onto the terrain Sv. Jelena na Plasama (St. Helen at Plase, today Pehlin). The infection disease complex was conceived as a pavilion, which was, because of better isolation, usual concept for this type of hospitals. Buildings are placed to merge with the greenery, connected with road and pedestrian paths. Inside the complex there were clean and unclean watch-houses, administration, utility and service pavilion, laundry-room, observation pavilion, four patients pavilions and necroscopy pavilion with crematorium furnace. Functionality, simplicity and temperance are the main characteristics of this, for the time very modern architecture with secession style marks. Even today, after more than hundred years, this unrealized visionary project, because of its high technical, artistic and conceptual level, still effects very contemporary and usable. [ABSTRACT FROM AUTHOR]

In 1908, the City of Rijeka embarked an what would have been the biggest project ever. It planned to build a new city hospital that was to relieve the burden from the Saint Spirit Hospital, which could no longer meet local healthcare needs. The hospital was designed by one of Rijeka's finest architects, Francesco Matiassi and was to have 600 beds and cover an area of 40,000 sq m. In his design, Mattiassi implemented the programme and suggestions of the hospital head, Dr Antonio Grossich and the City technical department, headed by Luigi Luppis. The hospital complex was to be a combination of two types of buildings, common in hospital architecture of the time: the main building with a very complex floor plan, and four separate pavilions: mental illnesses, quarantine, post mortem, and services. The first three floors of the main building were intended for the departments of general medicine, surgery, gynaecology, maternity, infectious diseases, ophthalmology, and dermatology, and the remaining floors for patient reception, hospital supplies and utilities, administration, and staff. Glass-walled operating theatres, terraces for patients and facilities such as a large cloakroom bear witness to the designer's deep understanding of civil culture and architecture, which set high standards even in today's terms. Even though the project was too ambitious and even Utopian for a city like Rijeka at the beginning of the 20th century, we cannot but regret that it has not seen the light of day at least in part. [ABSTRACT FROM AUTHOR]

The article reveals designs for the two theatres in Rijeka, namely, the Bono-Gerliczi and Nobile Theatres found in the archival fonds of Rijeka Municipality at the State Archives in Rijeka. Although research done so far showed the Bono-Gerliczi theatre was considered architecturally and theatrically uninteresting predecessor of Adamić's theatre, the building is significant for both architecture and history of the city and Croatia in general. This first purpose-built theatre in Croatia in the post-antiquity period is a typical Baroque building. Up to now there has been no knowledge of another planned Baroque theatre building in Rijeka, namely, the Nobile theatre. Its plans and documentation have recently been discovered. [ABSTRACT FROM AUTHOR]

The purpose of this paper is a presentation of a graduation dissertation "Hotel Lišanj arhitekta Ignjata Fischera, Novi Vinodolski" at the south of Primorsko Goranska županija near Crkivenica, built in 1923. The author of this hotel is a well-known architect from Zagreb, Ignjat Fisher, who developed the project before the collapse of the Austro Hungarian Empire in 1917. In the paper, the history oft he hotel and its interweaving with the development of the tourismin Novi Vinodolski is being analyzed. The analysis is focused on the historical building of the hotel. A review of the phases of reconstruction of the hotel from 1923 until today, and a functional analysis of today's buildingin comparison to the hotel Esplanade in Crikvenica with a similar history is given. The method of hotel reconstruction was "addition" of new volumes in contemporary style, which design should have adapted to the context. A lack of the attempt to adaptand a low quality of new hotel architecture is probably the reason why hotel chains advertise with images of historical buildings. Eventhough the Imperial architecture demanded a certain uniformity in the whole Austro Hungarian Empire, with a time detachment can be seen that these buildings add a value to an even more uniformed contemporaneity. [ABSTRACT FROM AUTHOR]

The aim of this paper is to present the graduation thesis Architect Ignjat Fischer's Hotel Lišanj, Novi Vinodolski, in the south of Primorsko-Goranska County near Crikvenica, built in 1923. The hotel was designed by a well-known architect from Zagreb, Ignjat Fisher, who developed the project before the collapse of the Austro-Hungarian Empire in 1917. The paper analyzes the history of Hotel Lišanj, which intertwines with the development of tourism in Novi Vinodolski. The analysis is focused on the historic building of the hotel. A review of the phases of reconstruction of the hotel from the 1923 until today, and a functional analysis of today's buildingin comparison to Hotel Esplanade in Crikvenica with a similar history is given. The method of hotel reconstruction was "addition" of new volumes in contemporary style, which design should have adapted to the context. Poor consistency and quality of new hotel facilities is probably the reason why hotel chains intuitively advertise themselves primarily with historic buildings. Although the imperial architecture aimed at uniformity of architectural expression, as the time passes, these buildings give an added value to an even more uniform contemporaneity, bearing witness to the multiple layers of the region's history. [ABSTRACT FROM AUTHOR]

The article presents a doctoral dissertation on the foundation, continuity and significance of the theater buildings in Rijeka and the stages in the development of the city's urban structure in Croatia. A detailed survey of the places and buildings in which theater activity was carried out is presented. It examines the foundation, continuity and significance of over 50 public and private theaters, small scenes, theaters of amateur groups and open-air theaters.