Cooperative Commercial Bank

While Plečnik drew predominantly from classical architecture for his work, Vurnik's cooperative bank building on Miklošičeva Street in the center of Ljubljana is one of the most successful examples of the attempt to create a so-called 'national style' in Slovenian architecture, a concept Vurnik intensively worked on after returning from his studies in Vienna. After viewing Le Corbusier's Paris pavilion L'Esprit Nouveau in 1925, he suddenly abandoned the search for national identity and embarked on a functionalist path, which often targeted Plečnik's creations. The desire for a unique architectural style was shared by most countries following the dissolution of the Austro-Hungarian monarchy. After the end of World War I, these newly established states sought to rediscover firm historical foundations and clarify their own identities. In Vurnik's case, inspiration could also be found in German Expressionism and Czech Cubism, both of which draw from Gothic traditions. Unlike the gloomy Gothic style, Vurnik opted for the South Slavic richness of colors and patterns derived from folk costumes. The initial mix of styles was also contributed to by the architect's wife, Helena, who was a painter and created Art Nouveau patterns around the window openings. Vurnik completely occupied the entire plot, with the bank building located at the street side and a residential building situated at the back. The connecting neck between both buildings was utilized as a central bank hall for clients. The main facade is framed by a pair of continuous side bay windows, and the whole composition is capped with a massive triangular gable extending into the street. Folk motifs are also reflected from the facade into the interior, especially in the entrance hall with a staircase and the central bank hall. In addition to the rich decor, the building was also reminiscent from afar of its brightly red facade.