Secesijska Ljubljana Multi-cache

SLO: Secesija je umetnostna smer, ki jo v Evropi poznamo pod različnimi imeni: Art Nouveau, Jugendstil, Modern Style, Liberty in secesija, ki se je uveljavilo pri nas. V naših krajih se je ta smer pojavila na začetku 20. stoletja, v drugih mestih po Evropi pa nekaj let prej (povezana je z določenimi mesti in manj z deželami, npr. Dunaj, Barcelona, Glasgow, Pariz). Secesijski umetniki so se trudili ustvarjati celostne umetnine, ki zajemajo več umetnostnih področij: slikarstvo, kiparstvo, arhitekturo in uporabno umetnost (v prejšnjih obdobjih so bila ta področja bolj ali manj ločena). Secesija predstavlja radikalen odmik od prejšnjega umetnostnega obdobja (historicizma), v katerem so bili umetniki zbrani okrog nekaj uveljavljenih šol, kjer so se strogo držali ustaljenih konvencij in programskih kanonov. Secesijski umetniki pa so poskušali umetnost približati ljudstvu, predvsem v končni fazi so marsikje iskali navdih v ljudski umetnosti in se poistovetili z narodnostnimi gibanji, ki so vznikala v tistem obdobju. Secesija je trajala sorazmerno kratko obdobje, približno prvo četrtino 20. stoletja, potem pa se je razvila naprej v moderno umetnost 20. stoletja.

Značilnosti secesijske umetnosti je težko natančno opredeliti, saj je vsak avtor oziroma skupina imela svoj stil; v grobem pa glede na dekorativno govorico ločimo dve smeri: prva je uporabljala rastlinske in druge stilizirano dinamične elemente (krivulje, valove, zakrivljene površine), druga pa je uporabljala preproste geometrijske vzorce, ki so jih različno kombinirali. Pomembno je še, da so umetniki preučevali tudi druge kulture (japonsko, staroegipčansko, južno ameriško, itd.). V arhitekturi so začeli uporabljati in kombinirati nove tehnične rešitve ter materiale, iskali so nove prostorske koncepte; objekti so bolj lahkotni in dinamični (v primerjavi s prejšnjimi strogimi in pompoznimi stvaritvami).

V Ljubljani je bil 1895 močan potres, v katerem je bilo podrtih ali močno poškodovanih veliko stavb; nastala so dokaj obsežna področja, ki so jih morali na novo pozidati. Tako je na majhnem območju skoncentriranih veliko zgradb iz secesijskega obdobja, ki se je pojavilo ravno v tistem času. Prvi secesijski objekt v Ljubljani je bil sicer Zmajski most (arhitekt Jurij Zaninovič), ki je bil zgrajen 1901 (ta objekt je hkrati tudi prvi železobetonski most na Slovenskem).
V Ljubljani je več kot 70 secesijskih stavb, za ta večstopenjski zaklad smo izbrali 13 najbolj izstopajočih:

• Krisperjeva hiša (1900-1901), Miklošičeva 20, N 46° 03.260  E 014° 30.435
  Avtor: Maks Fabiani
  Ta stavba, ki jo je Fabiani kot prvo stavbo na trgu pred sodno palačo sam projektiral, je bila vzor in arhitekturna usmeritev za sosednje stavbe na tem trgu. Fasada je oblikovana v lahkotnem secesijskem slogu, značilnem za kvalitetnejšo sodobno dunajsko arhitekturo.
• Hribarjeva hiša (1902-1903), Tavčarjeva 2, N 46°  03.292 E 014° 30.292
  Avtor: Maks Fabiani
  Stavba velja za eno najbolj asketskih Fabianijevih del. Zasnovana je v klasičnih antičnih proporcih. V tlorisu fasada na Slovensko cesto vzvalovi v tri plitve okenske pomole.
• Bambergova hiša (1906-1907), Miklošičeva 16, N 46° 03.220  E 014° 30.418
  Avtor: Maks Fabiani
  Tu se je Fabiani že docela odvrnil od dunajske secesije in začel iskati vzore v lokalnih tradicijah, na primer v baročnemu duhu kraja.
• Mladika - dekliški licej (1906-1907), Prešernova 25, N 46° 03.093  E 014° 29.899
  Avtor: Maks Fabiani
  Stavba je bila namenjena laičnemu šolanju deklet. To je eno od Fabianijevih najkasnejših del v Ljubljani, kjer se je, tako kot pri Bambergovi hiši, povsem oddaljil od dunajske arhitekture in se oprl na lokalno ljubljansko tradicijo: npr. stolpiček nad vhodom posnema motiv urinega stolpa ljubljanskega magistrata, fasada pa je obdelana v domačem gradivu.
  Opomba: sosednja stavba, internat (na njem je napis "MLADIKA"), je bila zgrajena 5 let kasneje, avtor je Ciril Metod Koch, se šteje v secesijsko obdobje in je v literaturi obravnavana hkrati z licejem. Internata v tem zakladu ne obravnavamo.
• Urbančeva hiša (1902-1903), Trubarjeva 1, N 46° 03.103  E 014° 30.383
  Avtor: Fredrich Sigmundt
  Prva veleblagovnica v Ljubljani, zasnovana je po vzoru sodobnih veleblagovnic v velikih evropskih prestolnicah: Parizu, Dunaju Gradcu, Budimpešti. Za razliko od večine ostalih stavb, kjer je prisoten močan vpliv Dunaja, se je tu avtor zgledoval bolj po belgijskem Art Nouveau stilu. Stavba predstavlja eno najkvalitetnejših secesijskih celostnih umetnin; v notranjščini je še ohranjeno stopnišče, leseno pohištvo, štukature, itd.
• Mestna hranilnica (1903-1904), Čopova 3, N 46° 03.109  E 014° 30.300
  Avtor: Josip Vancaš
  To je eno zgodnejših Vancaševih secesijskih del, na fasadi se še mešajo historicistične ter secesijske prvine. Ko je banka odprta, si lahko v notranjosti ogledate enega redkih ohranjenih secesijskih ambientov.
• Hotel Union (1903-1905), Miklošičeva 1, N 46° 03.164  E 014° 30.385
  Avtor: Josip Vancaš
  Prvi moderni, izrazito funkcionalno zasnovani hotelski objekt in na začetku 20. stoletja največja stavba v mestu, se je ponašal z največjo in najbolj reprezentativno dvorano na vsem Balkanu, ki je zaradi zahtevne železne strešne konstrukcije veljala tudi za izreden tehnološki dosežek. Celoten objekt, tako zunanje pročelje kot tudi notranjščina z vso notranjo opremo in bogato zbirko jedkanih stekel, je bil oblikovan v dekorativnem secesijskem slogu. To je druga Vancaševa stavba v Ljubljani in pomeni korak naprej v njegovem arhitekturnem razvoju.
• Ljudska posojilnica (1907), Miklošičeva 4, N 46° 03.148  E 014° 30.389
  Avtor: Josip Vancaš
  Stavba ima tipično secesijsko pročelje z wagnerjanskimi dekorativnimi elementi, kot so npr. potlačen strešni zaključek, keramična preobleka fasade in fabianijevski plitvi tristransko zaključeni pomoli.
• Pogačnikova hiša (1902), Cigaletova 1, N 46° 03.264  E 014° 30.351
  Avtor: Ciril Metod Koch
  Koch se je pri svojem ljubljanskem delu oprl na tedaj modne dunajske vzore. Težišče fasade je elegantni portal, ki ga krasi ženska figura, ki v razširjenih rokah drži rastlinske vejice.
• Čudnova hiša (1902), Cigaletova 3, N 46° 03.280  E 014° 30.357
  Avtor: Ciril Metod Koch
  Vogalna hiša z značilnim vogalnim stolpičem in modno, dunajsko navdahnjeno secesijsko fasado.
• Kmetska posojilnica (1902-1903), Trdinova 2
  Avtor: Ciril Metod Koch
  Gre za projekt dveh enakih vogalnih hiš na Trdinovi ulici (mi se bomo osredotočili samo na to, ki je ob Slovenski cesti; prosimo ne upoštevajte druge hiše, ki je na Trdinovi 8). Fasado krasijo različni secesijski motivi.
• Hauptmannova hiša (1904), Prešernov trg 1, N 46° 03.085  E 014° 30.343
  Avtor: Ciril Metod Koch
  Hiša v potresu ni bila poškodovana in je lastnik Hauptmann naročil le obnovo fasade. Fasada je obdelana v stilu modne dunajske secesije v močnih kontrastnih barvah, z dekoracijo iz glaziranih ploščic, ki se zgosti pod strešnim vencem. Velja za eno kvalitetnejših Kochovih ljubljanskih stavb.
• Zadružna gospodarska banka (1921-1922), Miklošičeva 8, N 46° 03.175  E 014° 30.400
  Avtor: Ivan Vurnik
  To je eden najlepših primerov arhitekture narodnega sloga (pozna faza secesije, pravzaprav njen odvod, ki se je v iskanju narodne identitete zatekal k ljudski umetnosti). Če le imate priložnost, si oglejte tudi notranjost, ki je bogato okrašena z motivi iz slovenske ikonografije: stilizirana pokrajina smrekovih gozdov in žitnih polj ter vinske trte, v katero je vkomponiran motiv žena v slovenski narodni noši.

POZOR: TA MULTI-ZAKLAD JE ZASNOVAN DELOMA KOT UGANKA: spodaj je 13 vprašanj, ki se nanašajo na secesijsko fasadno dekoracijo. Vaša naloga je, da za vsako stavbo poiščete pripadajoče vprašanje in nato ugotovite ustrezen odgovor. Vsaki stavbi pripada natanko eno vprašanje (in obratno: vsakemu vprašanju ena stavba).
Ugotovili boste, da lahko nekaterim stavbam pripišete več vprašanj; nič hudega, obiščite še druge stavbe in z izločanjem boste postopoma dobili pravo vprašanje. Predlagamo, da pri vsaki stavbi poiščete odgovor na vsa vprašanja, ki ji ustrezajo (na primer, preštejte balkone, levje glave, itd.). Predlagamo tudi, da pred odhodom na teren natisnete opis zaklada, saj je "paperless" reševanje pri tem zakladu težavno.
Iz odgovorov na vprašanja boste izračunali končno točko, ki je v bližini še ene secesijske stavbe.

Vprašanja:

Opomba: pri iskanju odgovorov si morate ogledati celotno fasado, tudi če se razteza v več smeri. Zaklad ter vsi odgovori so dostopni/vidni z javnih površin in ni treba vstopati v zavarovana področja.

1. A = Število levjih glav na fasadi.
   V historicizmu so fasade okraševali s kiparskim okrasjem, ki so ga iz naravnih materialov izdelovali kiparji. V secesijskem obdobju pa so večinoma uporabljali tipske elemente, ulite iz mavca, betona ali drugih umetnih materialov, ki so jih izvajalci najpogosteje nabavljali v specializiranih delavnicah na Dunaju in Gradcu.
2. B = Napis na fasadi je iz kovinskih črk. Koliko črk je na napisu?
   Pomemben sestavni del fasadnega okrasja so bili napisi v značilni fin-de-siclovski pisavi. Bili so bodisi naslikani na omet ali pa so bile kovinske črke, pritrjene na fasado. Danes imata le še dve stavbi originalne napise iz kovinskih črk.
3. C = Število črk I, J in M na secesijskem izvesku (samo na eni strani), ki ima okvir iz kovanega železa z okrasjem iz rastlinskih listov, na vrhu pa je čebelji panj.
   Na fasadah trgovskih in poslovnih zgradb so bili v tistih časih obvezen element tudi izveski, danes pa je ohranjen le še ta secesijski izvesek.
4. D = Število oken, pod katerimi je vzorec šahovnice iz keramičnih ploščic.
   Po vzoru Dunaja so tudi v Ljubljani za okraševanje uporabljali glazirane keramične ploščice različnih barv in vzorcev. Vendar pa v manjšem obsegu, v glavnem kot poudarke okenskih okvirov ali kot dopolnilo štukaturnemu okrasju.
5. E = V navpičnem pasu med okni se iz medaljona spuščajo vzporedni trakovi, ki so spodaj zvezani s širokim trakom stiliziranih listov. Koliko je teh navpičnih pasov?
   Historicistični fasadni okraski (npr. girlande, kartuše, glavice, pentlje) so se postopoma umikali secesijskim; najprej so začeli uporabljali rastlinske motive, kasneje se je uveljavil geometrijski okras (sestavljen iz kvadratov, pravokotnikov, krogov, ravnih črt, itd.). Na tej stavbi se secesijski elementi še mešajo s historicističnimi, sosednja stavba na desni pa ima že povsem secesijsko dekoracijo.
6. F = Skupno število okroglih modrih keramičnih ploščic med okni v 2. nadstropju.
   Na tej stavbi so v fasado vrisane stilizirane rastlinske vitice, okrogle keramične ploščice pa predstavljajo cvetove.
7. G = Okrog in okrog oken je pisan vzorec. Koliko je različnih barv v tem vzorcu?
   Secesijske barve so intenzivne in kontrastne, ta stavba pa v svoji pisanosti še posebej izstopa. Okrasje v tem primeru simbolizira slovensko trobojnico, po nekaterih domnevah pa tudi cvet slovenske narodne rože - nagelja.
8. H = Število balkonov s kovano ograjo. Če je balkon razdeljen na več prostorov, ločenih z ograjo, je to en balkon (prostori so na isti plošči).
   Stavbno opremo iz kovanega železa (balkonske in stopniščne ograje, nadstreške, izveske, okenske mreže, kljuke, okovje, nabiralnike itd.) so izdelovala domača podjetja in delavnice, za razliko od kiparskega okrasja in jedkanega stekla, ki so jih uvažali. Na kovaških izdelkih so najpogosteje upodobljeni detajli iz narave (rastlinski listi, cvetovi, vitice) ali geometrijski vzorci.
9. I = Število zmajevih glav na secesijskem nadstrešku iz kovanega železa in stekla.
   Ta secesijski nadstrešek iz kovanega železa in stekla, v obliki pahljačasto razprtih cvetnih listov, v mestu nima primerjave.
10. J = Število oken na vogalnem stolpiču (v vseh nadstropjih skupaj), ki ima streho v obliki globusa.
    Urbanistični načrt za Miklošičev park in okoliške zgradbe je leta 1900 izdelal arhitekt Maks Fabiani. Višino in gabarite okoliških zgradb je vezal na sodniško palačo, ki je takrat že stala, za vse vogalne stavbe pa je predvidel stolpiče, ki poudarjajo iztek ulic.
11. K = Skupno število modro-zelenih keramičnih ploščic tik nad okni v 2. nadstropju na vzhodnem zidu.
12. L = Število figur (celo telo) ženskega spola na stavbi (kjerkoli, na fasadi, strehi,...).
13. M = Število keramičnih reliefov z moškimi glavami.

Preizkus: A + B + ... + M = 122

Končna lokacija: N 46° 0X.XXX  E 014° 30.YYY
XXXX = A*B*D + C*E*F - E*G
YYY = I*J*K*L + B*H*M + D

... dobili boste tudi nekaj podatkov o stavbi na končni lokaciji.

ENG: Secessionism is an art style known in Europe under different names: Art Nouveau, Jugendstil, Modern Style, Liberty and Secessionism;the later name is used in Slovenia. This art style emerged in Ljubljana at the beginning of 20th century, few years later than in other European cities (this style is linked to specific cities, less so to regions, eg. Vienna, Barcelona, Glasgow, Paris). The highest goal of the new style was to create total works of art where the works of diverse kinds of art (painting and sculpture, architecture, applied arts, etc.) blend and form the whole (before that time different arts were treated separately). Secessionism signified a break with traditional academicism and the imitation of old styles. It marked the beginning of modern art, for which was a characteristic seeking a new language that would reflect the new spirit. It exploited technical progress and the new possibilities offered by industry: new materials (iron, steel, glass, reinforced concrete) and new technologies. It also developed mass production whereby new articles became accessible to a broad mass of consumers. It lasted rather short time - approximately first quarter of 20th century - and then evolved into modern art of 20th century.

Secessionism developed entirely new aesthetic ideals and a more liberal and lighter means of expression. Inspiration was sought in the plant and animal kingdom, folklore motifs, national history, exotic cultures and religions as well as in geometrical forms.

The earthquake in 1895 demolished or severely damaged a lot of buildings in Ljubljana; thus rather large districts had to be rebuilt again. That's why many buildings in Secessionist style, which had just emerged, are concentrated in small area. The first Secessionist object in Ljubljana was Dragon Bridge (architect Jurij Zaninovič), built in 1901 (this was also the first reinforced concrete bridge in Slovenia).
Ljubljana has more than 70 Secessionist buildings. For this multicache we selected 13 the most prominent ones:

• Krisper House (1900-1901), Miklošičeva 20, N 46° 03.260  E 014° 30.435
  Author: Maks Fabiani
  Maks Fabiani designed the plans for the urban architectural layout of the square in front of the Palace of Justice. The first house in the square (this house) was designed by Fabiani himself, thus revealing how he conceived the appearance of the square. The facade was designed in a light Secessionist style based on the contemporary Viennese architecture.
• Hribar House (1902-1903), Tavčarjeva 2, N 46°  03.292 E 014° 30.292
  Author: Maks Fabiani
  This building is one of the most ascetic Fabiani's works. He produced the plan in strict classical antique proportions. The facade undulates in three shallow window bays.
• Bamberg House (1906-1907), Miklošičeva 16, N 46° 03.220  E 014° 30.418
  Author: Maks Fabiani
  Here Fabiani almost completely turned away from Viennese Secessionist style and started to search for models in local late Baroque tradition of patricians’ residences.
• Mladika - Girls' Lyceum (1906-1907), Prešernova 25, N 46° 03.093  E 014° 29.899
  Author: Maks Fabiani
  This is one of Fabiani's latest works in Ljubljana. Similar to Bamberg House there are no traces of Viennese Secessionist architecture any more. We can find influences from the regional and local tradition of Ljubljana instead: the clock-tower which is covered by a bell-shaped roof is similar to that on the Town Hall tower, facade is made of domestic materials.
  Note: the neighbour building - the Boarding School (it has the inscription "MLADIKA") - was constructed 5 years later and also belongs to the Secessionism period. But the Boarding School is not covered by this cache.
• Urbanc Department Store (1902-1903), Trubarjeva 1, N 46° 03.103  E 014° 30.383
  Author: Fredrich Sigmundt
  This was the first department store in Ljubljana. It was designed on the model of contemporary department stores in large European metropolises: Paris, Vienna, Graz and Budapest. The details reflect the direct influence of Belgian and French variations of Art Nouveau — a rarity in Ljubljana — which was otherwise modelled on Viennese Secession. The building is one of the finest and most elaborate Secessionist works of art in Ljubljana where the architectural design and internal furnishings blend to form an inseparable whole. The original staircase, furniture, stuccowork on the walls, etc. are still preserved in the interior.
• City Savings Bank (1903-1904), Čopova 3, N 46° 03.109  E 014° 30.300
  Author: Josip Vancaš
  This is the early Secessionist work of Vancaš, thus the facade is a blend of Historicist and Secessionist ornamental elements. When the bank is opened you can see one of the few preserved secessionist ambiences.
• Hotel Union (1903-1905), Miklošičeva 1, N 46° 03.164  E 014° 30.385
  Author: Josip Vancaš
  The first modern, distinctly functionally designed hotel building and also the largest edifice in the city at that time boasted the grandest ceremonial hall in the whole Balkans (in this part of Europe). Due to the complex iron roof construction it was also regarded as an outstanding technological achievement. The whole building, the external facade and interior with all its furnishings and rich collection of etched glass, was designed in the ornamental Secessionist style. This is the second building of Vancaš and a step further in his architectural development.
• People's Loan Bank (1907), Miklošičeva 4, N 46° 03.148  E 014° 30.389
  Author: Josip Vancaš
  This building features a typical Secessionist facade with Wagnerian ornamental elements such as, e.g. a flattened roof conclusion, ceramic facing and balconies with shallow threesided bays in the Fabiani style.
• Pogačnik House (1902), Cigaletova 1, N 46° 03.264  E 014° 30.351
  Author: Ciril Metod Koch
  This Koch's work is based on conteporary Viennese style. The centre of gravity on the facade is an elegant portal which is adorned by a stucco relief of a female figure in the Secessionist style with extended arms holding branches.
• Čuden House (1902), Cigaletova 3, N 46° 03.280  E 014° 30.357
  Avtor: Ciril Metod Koch
  This corner house has a tower - typical for the buildings surrounding the Miklošič Park - and stylish facade inspired by Viennese Secessionism.
• Farmers' Loan Bank (1902-1903), Trdinova 2
  Author: Ciril Metod Koch
  Two the same looking buildings were built on opposite corners of the block in this project (we will focus only on the one facing Slovenska Street; please ignore the other one on Trdinova Street 8). Facade is decorated with different Secessionist details.
• Hauptmann House (1904), Prešernov trg 1, N 46° 03.085  E 014° 30.343
  Author: Ciril Metod Koch
  The house was one of the rare buildings in Ljubljana and the only one in the square that survived the earthquake almost undamaged. After the earthquake the house was bought by Adolf Hauptmann who commissioned the renovation of the facade to the local architect Ciril Metod Koch. Koch renovated it in the fashionable Viennese Secessionist style. The colour diversity displays contemporary vogue Viennese patterns.
• Cooperative Bank (1921-1922), Miklošičeva 8, N 46° 03.175  E 014° 30.400
  Author: Ivan Vurnik
  It is one of the finest examples of architecture in the so-called national style. If you have a chance, you should also see the interior, decorated with the geometrical ornament in a red, blue and white colour combination of the Slovene tricolour and enhanced with motifs from the Slovene iconography: a stylised Slovene landscape of pine forests and wheat fields as well as vines that incorporate the motif of women attired in Slovene national dress.

NOTE: THIS MULTI-CACHE IS CONCIEVED PARTLY AS A PUZZLE: below are 13 questions relating to Secessionism facade decoration. For each building find a corresponding question and then the answer. Each building is connected to exactly one question (and vice-versa: each question is connected to exactly one building).
You will find out that you can assign several questions to the same building; no problem, visit the other buildings and eventually only one question will remain. Our recommendation: when looking at a building find all appropriate questions (e.g. count balconies, lion heads, etc.). We also recommend to make a printout of geocache description before going out because paperless geocaching is difficult for this geocache.
The answers will give you the final location which is close to yet another Secessionist building.

Questions:

Note: in Slovenia, floors are counted in following manner: ground floor, 1st floor is above it, then 2nd floor,... While searching for the answers survey the whole facade even if it is spread in different directions. You don't have to enter restricted areas to get the cache and answers.

1. A = The number of lion heads on the facade.
   In Historicism (and earlier periods) facades were decorated with sculpture decorations which were crafted by sculpturers and made of natural materials. Secessionist architects usually used mass produced elements (plaster or concrete cast), most often ordered from specialised workshops in Vienna and Graz.
2. B = The inscription on the facade is made of metal letters. How many letters are on the inscription?
   Inscriptions in typical fin-de-siecle script were important element of facade decoration. They were either painted on the facade or were metal letters fixed on the facade. Today, only two buildings have original Secessionist inscriptions made of metal letters.
3. C = Number of letters I, J & M on the Secessionist signboard (one side only), which has wrought iron frame decorated with vegetable theme and has a beehive on the top.
   The signboards were mandatory element on the shops and business buildings. This is the only authentic Secessionist signboard preserved.
4. D = Number of windows beneath of which is a chessboard pattern made of ceramic tiles.
   Under the Viennese Secessionist influence architects in Ljubljana were often decorating facades with ceramic tiles of different colors and patterns. However they used the tiles more sparingly, mostly to enhance window frames or as supplement to stuccowork ornament.
5. E = In the vertical belt between windows, parallel stripes are dropping down from medallion, connected at the lower end with stripe of stylised leaves. How many of these vertical belts are on the facade?
   The Historicist facade ornaments (eg. garldands, cartridges, heads, ties,...) were gradually replaced by Secessionist ornaments; at the beginning the motifs from world of plants were used, later were added geometrical forms (squares, rectangles, circles, straight lines, etc.). On this building Historicist decorative elements are blent with Secessionist elements while the building on the right has pure Secessionist decoration.
6. F = Total number of blue circle ceramic tiles between windows in 2nd floor.
   On this building the stylised vegetal tendrils are drawn into the facade with ceramic tiles representing the blossoms.
7. G = The windows are encircled with vibrant colored pattern. What is the number of different colors in the pattern?
   The Secessionist colors are strong and contrast. This building stands out in its coloring; the ornament around windows symbolizes the Slovenian tricolor and by some assumptions also a blossom of carnation, the Slovenian national flower.
8. H = Number of balconies with wrought iron railing. If balcony is split to many parts which are on the same plate, count it as one.
   Wrought iron building equipment (balcony and staircase railings, projecting roofs, signboards, latches, mailboxes, etc.) was forged in local workshops, contrary to sculpture decorations and etched glass which were imported.
9. I = Number of dragon heads on a projecting roof made of wrought iron and glass.
   This Secessionist projecting roof made of wrought iron and glass in the form of fan-shaped blossom petals is without comparison in the city.
10. J = Number of windows on a corner turret (sum of windows in all floors) which has roof shaped as a globe.
    The plans for the urban architectural layout of the Miklošič Square were designed by Maks Fabiani in 1900. Fabiani designed a square uniformly enclosed by buildings of the same height with corners accentuated by small turrets.
11. K = Total number of blue-green ceramic tiles just above the windows in 2nd floor on eastern wall.
12. L = Number of female statues (whole body) on the building (anywhere on the building: on facade, roof,...).
13. M = Number of ceramic reliefs depicting head of a man.

Test: A + B + ... + M = 122

The final location: N 46° 0X.XXX  E 014° 30.YYY
XXXX = A*B*D + C*E*F - E*G
YYY = I*J*K*L + B*H*M + D

... you will also get some information about building at the final location.