SPLIT - THREE STARS / Photographies by Duška Boban (original) (raw)

In conceiving the city of Split as a scene, buildings are being appropriated in two ways, through usage and perception. If the relation between culture and its respective form is built through the regulation of the relationship between people and their environment, the relationship between the society (the City) and its “recent”, 20th architectonic heritage may be seen as de-regulative, considered too recent to be preserved for the future, subjected to the terror of time, (intentionally) neglected by the society, forgotten (in the collective consciousness), taken away (Vila Dalmacija – closed, i.e. confined space; Dalmacijavino – shut down, emptied of workers; Koteks complex, inclusively public space built on levels-terraces, a public squares and streets sublimate – mostly used in an inadequate manner, constantly seeking for a new content, suffering from the functional crisis caused by invisible social changes). In its renouncing of “society”, or it being renounced by the “society”(20th architectonic heritage) we cannot help but notice a social gesture. Vila Dalmacija, Dalmacijavino and Koteks-Gripe in that sense are spaces of silence, as in the cessation (of communication). Silence, however, ends by gaining the right to speak4. According to Juhani Pallasmaa, the central theme of the modern architectural theory was to point towards spatial-temporal continuity. Architecture was regarded as the image of the world and expression of spatial-temporal structure belonging to a physical and empirical reality. Spatial-temporal dimension was a central point in all considerations and activities of human kind, from the hidden geometry of language to the forms of production and politics. Can it be so deeply rooted in culture, as in create an experience of place and identity? Today, can architecture itself set social and cultural goals? ------- Od društva (kontrolirano) zapuštane, (u kolektivnoj svijesti) zaboravljene, oduzete (Vila Dalmacija – zatvoren, odnosno omeđen prostor; Dalmacijavino – zatvoreno, ispražnjeno od radnika; kompleks Koteksa, uključivo javni prostor na terasastim nivoima, sublimat javnih trgova i ulica – uglavnom nedovoljno/neprimjereno korišten, u potrazi za novim sadržajima, u krizi smisla funkcije izazvane nevidljivim društvenim promjenama). U odricanju od “društva”, ili odricanju „društva“ od nje (arhitektonske baštine 20. stoljeća) ne možemo, ipak, ne uočiti društvenu gestu. Vila Dalmacija, Dalmacijavino, Koteks-Gripe u tom su smislu prostori tišine, u značenju prestanka (govora). Tišina, međutim, završava stjecanjem prava na govor. Prema Juhaniju Pallasmaa, središnja tema arhitektonske teorije moderne bilo je ukazati na prostorno-vremenski kontinuitet. Na arhitekturu se gledalo kao na prikaz slike svijeta i izraz prostorno-vremenske strukture, koja pripada fizičkoj i empirijskoj realnosti. Prostorno-vremenska dimenzija bila je središnja točka u cjelokupnom razmišljanju i svim aktivnostima čovječanstva, od skrivene geometrije jezika pa do oblika produkcije i politike. Danas, može li arhitektura sama postaviti društvene i kulturne ciljeve? Može li toliko biti ukorijenjena u kulturi da može stvoriti doživljaj mjesta i identiteta?