Listening to the void
PPAG, sei progetti
1 Ottobre 2012
Il Progetto 39
1 Ottobre 2013Listening to the void, twenty plus years of urbanism in Croatia
Ascoltando il vuoto, più di vent'anni di urbanistica in Croazia
Twenty years is a long period of time; however, it still comprises a component perceptible by humans. A piece of information on the number of victims from WWII or some natural disaster could leave one indifferent due to its inconceivableness. Time, just like stories about people, is perceived more intimately when it is possible to encompass it with our spirit and envisage it, identify with it. The nineties started as a period of great hopes and changes. After the fall of the Berlin Wall and mostly overestimated expectations of the spectacular collapse of communism, the world experienced a delayed and nonplussed deliverance from the heritage of WWII and the age that had not counted on the domination of IT in all domains of everyday life. The scales on the balance of global constellations were cautiously tipping both in the political and economic senses, with occasional explosions of violence, such as media-covered military interventions, escalation of terrorism, ethnic, religious and territorial tensions and conflicts. In no time at all, the outstanding bills for long-time perfidies and calculations of interest and military spheres turned these years into an age that, by force of its retrograde spirit, surprised idealists and alerted one and all with the realisation that the mostly overcome, repressive and hampering mechanisms of communist structures had been but one of the myriad global issues. The new millennium that everybody had been waiting for mercilessly hit the Western civilisation’s complacency – the annihilation of the WTC in 2001 became a terrifying symbol of the post-war policy-makers’ weakness, forever changing one’s view of the world and safety in its context. Cynicism that this destruction wreaked onto architecture, in search of its weak points, transformed its role from a sublime human act into a helpless cataclysmic tool, and indirectly touched upon general civilisation values and social obsessions which had arisen and had been promoted during a century fascinated with mass production, standardisation, mechanisation and positivistic megalomania. The disaster rejected the routine manner of treatment in the media, and thus the distant fronts, havoc and victims have entered into prime time and urban centres. The world was balancing and bonding, but in a hard way, through conflicts and exclusiveness, whereas the internationally-driven civic jubilant spirit of Europe from the late eighties had been forgotten. The typical consumer, created, encouraged and courted for so long, until recently a convenient citizen, educated as one goes on, finally took over an era designed according to marketing standards, seemingly intended for him, not wanting to be bothered by doubt in his trek to a vinyl paradise made of readjusted stereotypes. The emergence of hypertrophied quantity, the exuberance of gadgets in every nook and cranny, and the logical automatism resulting therefrom, were food to the cult of the market, platforms of self-sufficient numbers and indices, consequently obliterating all need for the obsolete tradition of scholastic social analyses. Simultaneously, we have been fraught with atavistic faltering, discouraging extremisms and hypocrisy, seeking and announcing a plethora of new things, while the familiar issues have remained unresolved in the form of ambivalence, neuroses and social anomalies. The consumer age can spare no time and is not partial to indigestible information, even when they regard the crucial matters of existence, soul and wisdom. Advanced technologies and computer aesthetics have assumed the Western civilisation’s aesthetics as a shell, but in a “second-hand” manner, i.e. as a model of producing new moguls of a new capitalism. Production lines of the Far East churn out in a massive, but not in the least bit friendly, manner banalised exploitations of Oriental pornography and Western nostalgia, memorabilia of glorious moments from the generally murderous 20th century, its multiplied icons, quasivintage dubious wares, often made through suffering of humans and animals – in fact, anything that could be for sale. Millenary forests have been wiped out, together with all their fauna; water and climate have also been suffering, all in order to gain profit for generous donations to some publicly eligible activity. Extremely brutal treatment of animals has been upholding the food, drugs, cosmetics, fashion and utensils industries. Planetary tourism has flourished, but, behind the scenes of the ubiquitous term of globalisation, only the market has been turning into a truly multicultural entity. Preoccupied with the telephone and digital tabloids in a way that would put our ancestors to shame, despite the predicted friendship with automatised personalities, silicone chips and in general with artificial intelligence which has allegedly almost surpassed us evolutionally, for the time being it is safe to say that we have also bonded with levity. There exists nothing, not of the flesh, mind nor a supernatural vision, which has not been recorded with enthusiasm and unscrupulously uploaded onto so-called social networks, whilst the difference between the free and contaminated thinking has become increasingly ambiguous. In addition to irrefutable contributions of technology and information flow, or reports on an allegedly better general standard “per capita”, the declining, vague era, migrational, social and environmental precariousness is the very age we have inherited, not only in countries “used” to this. According to the statistical data as presented by N. Chomsky, the state of Great Britain and the city of Boston are areas with high percentages of impoverished and undernourished population, particularly when it comes to children. Following the media exploitation of death, hunger, natural and environmental disasters regular as seasonal light TV programmes, as well as the daily news on unhindered reprisals of oppressors on so many innocent and helpless beings, it seems as if hagiographic apocalyptic visions have been outshouted. Notwithstanding, science and medicine, as well as anything and everything connected with technological progress have rushed forward – we are able to instantly report both good and bad news, communicate more and with more ease, we have become more efficient, technically more productive, more sensitive to the issues regarding conservation of nature, more self-conscious, even overwhelmingly more reconciled. In addition to its inherent exaggeration, the Nietzschean thought has finally proved to be at least formally, theatrically anticipatory – the twenty-first century is filled with exalted, increasingly resistant “supermen” casting a patronising eye upon a completely different and transcended mankind. Mostly staring into the screens of their servile, fragile, redeeming laptops. At the last turn of the century, development of planning deliberations and architectural designing experienced a potent and focused input of current social changes, with the methods of analysis, perception and representation of space moving into the virtual realm after lengthy preparations, decidedly and irreversibly. Much earlier, one could feel an adjustment of method tendencies from earlier ages, in the form of a new way of thinking, immersed in postmodernist evocations, and notably announced by the appearance of deconstructivist synapse. The metamorphosis that one had been waiting for throughout the second half of the century in the aesthetics sphere emerged in secularisation of technology and science, thus separating the two last decades expressively. The process followed by the intellectually attractive, manifest announcement of the end of an influential and extended modernist world view, was in real terms embodied merely by its logical, evolutive transformation. The entities of a new graphical alphabet, and its tools, were related to all that was rational and scientifically consolidating in the architectural thought of the twentieth century. It is sufficient, for instance, to study the settings of computer drawing and graphic applications at the utilitarian level, to be able to swiftly and easily identify the acumen and permanence of modernist understanding of spatial shaping. The very emergence of the idea of the “modern” represented an upheaval in the definition of beauty, as well as of historical urbanity and its future, intimately awaited in the spirit of the time. One had been striving to achieve the “scientific” in urban planning ever since the first definitions of the functional city. Restructuring of theses, facilitated by the powerful support of technology, despite a change in needs, still retains and interprets such strivings, only occasionally yielding hints of codes of the new taste. Description of postmodernism is regarded as overcome, but there are versions of the eclectic, and particularly associative, that are also existent in the present day, arising from reshaped systems of values, as well as new education modes. Recent output has often been nostalgic and analytical. It has been manifested in select achievements through a dynamic essence of its genesis ingrained in the present, that is, by means of yet another idiom of the modern – a new utilitarianism. The line of significant architects from the twentieth century is long and well-known. Oft and in direct evocations we tend to regard their works as important and interesting heritage in recent times. Today this heritage is strongly present not only in architecture, but also in media-induced multiplication. Visionary architects-urbanists, such as T. Garnier, F. L. Wright, Le Corbusier, M. Van der Rohe, L. Kahn, A. Aalto, O. Niemeyer and many others in fact, have enriched us not only with their beliefs, but also taught us how to create potent urban architecture derived from contemplative earnestness and sincerity. Creators of recent and current global architectural scenes came out of such profiled tradition. While intensively addressing the current society, social phenomena, philosophy, poetic creation, other cultures or architectural traditions, acting polemically, trying to comprehend and pre-empt the accelerated pace of the world, the prolific and influential creators of a more recent architectural scene, such as A. Siza, J. Nouvel, R. Koolhaas and many others, reacting to ever diversifying tasks, have been building up on manifest standards and settings of the twentieth century, which will be the foundations of contemporary architectural concepts even when technology will have inevitably evolved even more. New tendencies, new criteria, new possibilities and new graphic of a new age still deal with old and probably eternal topics of housing, municipal space, public structures, interpolation, but also with ethics, aesthetics and poetry of space. However, the attitude to what is different, innovative and advanced has changed, shifting from previous misunderstanding, renunciation and petrifaction of values to the spectacle and “product” intended for multiplication. There are awkward side-effects to the omni-availability of information in the world of architectural design – a lot of superficial knowledge and mimicrised attractiveness, a lot of daunting computer arcadiae, a lot of futurist bad taste, but also a lot of uncritically interpreted architectural (fore)thought. A lot of Venturi’s “constructed decoration”. Therefore, the feel and need for selection, reconsideration, quest for the limits and acknowledgement of own beliefs and feelings, a eumorphic catharsis, is becoming more intense. At this very moment in time, preoccupied with progress in technology and information sciences – all that is beautiful, ethical, environmental, “sustainable” still seems to have more to do with an echo of an allegedly proscribed past than with the heralded, favoured future. The eighties, stretching from the 1980 Venice Biennale, with the topic of Presenza del Passato, directed by P. Portoghesi and C. Jencks, and the exhibited Teatro del Mondo by A. Rossi as the key representative of the Italian neo-rationalism, and the Deconstructivist Architecture exhibition in the Museum of Modern Art in New York, organised and devised by Ph. Johnson and M. Wigley, were the times of a great influence of the postmodern and its interfusion with the modernist tradition, under which the majority of the then architects had been educated. While J. Stirling was completing his sculptural compositions with a breath of the Glasgow School, books written by C. Jencks, R. Venturi, L. and R. Krier and others, were aimed at organising and defining this many-faceted metamorphosis. In January 1979, Ph. Johnson was on the cover of Time magazine, with an iconographic model in his hands and a prophetical pose, which instantly established him as a new star of corporate architecture. The architectural scene was “under attack” of variants of the Portland Building, AT &T Building and other cult structures from this period, while bipolarity was reflecting in a contact of diversities – the historicism of A. Rossi’s colonnades with D. Libeskind’s deconstruction. Worn out due to the very “isms”, stringency of post-war “spiritual renewal” and materialist world view, architects wholeheartedly and heretically adopted the postmodernist burlesque as an homage to individuality and the right to voice opinions, even to act a bit madly. The eighties were a temperamental period for Croatian architecture, too. Postmodernist influences had been felt much earlier, but the greatest change noted at the time primarily concerned the difference in experiencing and viewing urbanity. Urbanist visionariness, criticised for a long time, ever since the last thematic CIAM in 1951, for having neglected the city centre and enforcing ideological expansion and the collectivist cult, changed its discourse both in Croatia and other European and global places, finally and with great interest focusing on the urban in the most classical, definitional sense. Such an attitude extended to all else as well, the overall space- related interventions and strategies. Architects expressed their views of the times by means of interpolations, as well as of various typologies of municipal structures and spaces, urbanist designs, or man-made created ambiences. This reflected in a combination of traditional sagacity and specific, somewhat yet again restrained, recent ease, manifested mostly in the use of new materials and details. Ultimately, the result of this collision generally cannot be called postmodernist, sometimes not even late modernist, but it is possible to contour signs of specific local expressions or at least rules of procedure, which, along with regional variances, was reflected in significant examples in many towns and cities. Yet, theoretical polemics and the overall professional inclinations at the time were not that dedicated to regional stylistic atypicality as much as to formulation and local application of attractive postmodernist theses. The then developmental, “town-forming” undertakings in Zagreb were characterised by in-depth architecture in the urbanist sense, as well as by construction of several important structures. After the academism and clamour of the eighties, the nineties started in a uniquely different tone. Summarizing and purification were expected and proceeded in an interesting way. There occurred a turn to the opposite pole; this was again the turn to the taste of modernity, in all areas at that – from the output to presentation of architecture and urban planning. The scope of theorising was diminishing, architectural periodicals were filled with elaborate views of self-contained technical details, sophisticated models and modified, generally more ambitious graphical concepts. Minimalism and coded colourism were on offer as modernist kinship freed of heroism, traditional tectonics of the Amsterdam School were also invoked, with its plasticity and artistic abstraction modernised in the process. The already inaugurated term “genius loci” was still in frequent use, particularly recognised in an excellent practice of topographically more marked regional situations. Comprehensive urbanist visions were being implemented elsewhere in the world as well, modelling or transforming land, often in the context of docks and harbours in large centres, transport termini, but also parks, promenades and other municipal facilities, turning traditionally challenging zones into spatial and architectural attractions (Amsterdam, Hamburg, London, Barcelona, Seattle, Tokyo, etc.) Obsession with land, and combinations of architectural and urbanist themes and issues were continued and intensified later on, producing a number of analyses and applications of urbanist models such as urban “mats”, “clusters”, urban “landscapes”, etc. Huge shopping malls became a typology to be counted on with more and more. (Not only) in transition countries, the same applied to sacral construction. As opposed to largescale separation of transport and functions, and according to the then current manipulations with land and the modes of drafting, a fragmentary urbanist method of “patchworks” was suggested – select, on occasion very large plots of land or favelas within cities were treated with patterns in which one attempted to take into consideration all aspects of use and design. Housing was following and glorifying role models of the society of individuals and the requirements for revival of conservative values and the civic, somewhat conformist collectivism – partial municipal spaces, serviceable common areas, green and public surfaces no longer as abstracted and undefined, but naturalist, intimate places that the occupants identify with and idyllically use. The neighbourhood was turned into an actively designed, idealised elongation of the home; the architectural profession was invoking and establishing a society that was humanising, civilising itself, simulating the image of the liberal Scandinavian ethics. In the Western, luxury versions, and in the spirit of the universal “new-age” reconciliation, even models of collective housing of the former Soviet Union were attempted, intended for the young of the society capable to select the extent and methods of use of common areas. The architectural scene was moving on slowly, led by new people; a new generation was emerging, computer-aided art fields were being unified, there was a feeling of starting afresh, of a new graphism re-examining and expressing itself through keys, schemes, resuming. Similarly, but in a reversible way, the new, automated society was being analysed by the methods of collage, diagrams and distances, with architecture and urbanism appearing as counterpoints or deliverance, and the imperative “zoning” turning into something larger than a mere procedure. A number of young, quality designers were addressing families and students, i.e. housing, cultural centres, hotelshostels, municipal spaces, the “sociopolis”. Representativeness, when not of the “uninformed” provenance of the Shanghai skyscraper factory, requisitely in the Lutheran fashion, ambivalently renounced itself, as well as the public significance. This ambivalence resulted in more concise and elementary versions of the known models of urbanism and architecture. Transition and other architectural scenes, marginalised until then, democratically politely became the objects of interest. (Some) architects were imperatively dealing with the future; one insisted on comprehension and animation of dynamic qualities in technological and scientific momenta, the relation and logic of such momenta to nature; there were debates on the needs, validity and modernity, explorations and promotions of the term of the digital (age), superarbitration of the “a-scalary” landscape, a demanding aesthetics arising from electronic manifestations and causalities. Scientific and information terminologies of fractal, binary, secret lives of the liberated “information” compete with the then classical architectural etymology, as well as with the organic nature of life. Under the impact of climatic changes and threats, but surely also due to a certain nostalgic fatigue with the rule of technology, there was an intensive strengthening of environmental awareness and developing of a very desirable, yet often affected, relation to nature. “Naturartification”, by definition “a useful fusion of natural and man-made” effectively still mostly manifested itself through very costly and watered greened areas, representative facades, mostly unevolved but highly promoted idea of own cultivation, etc. In the computer and modelling world of simulations we saw reflections of Freud’s psychoanalytic theories, dreams, surrealism, an open and legitimate exploitation of the subconscious, intuitive, complex, infantile, but also delusion-free. The nineties were a period that imposed itself as a specific and marked reversal within the timeline non-directionally preceding it, subsequently balancing and normalising. A fraught decade, which in a general, living sense, brought way too much in the form of myriad ordeals and aspirations, but still remained ambiguous from the point of view of planning and physical designing. Even though it will surely not be remembered as a manifestly optimistic standard in terms of implementation and general average output, its exploratory and totally new-fangled questioning role, appearance and shaping of new significant designing personalities, cannot be denied, as well as the fact that the extant values were being directed during this period to essentially new, complex artistic pulsations and experiences. It started by following up the development of computer graphics, which was making its first steps in general use, a process that was undisputedly fundamentally encouraged. Having reached the doors of the contemporary, marketoriented West, Croatian designers were taking a crash course in “new rules of the game”, according to the then “all-youneed- is-CAD ” motto. In manifesto-like writings, prominent young architects were upholding deposing of the familiar architectural practice of suggestive drawn perspectives, designed forms, modernism itself, interpreting, more so in an apocryphal than advocating manner, the new age of consumerism, generally accessible in a seemingly incompatible conjunction with “brands”, or were “breaking up with the land”, and, like the hero from the famous timeless song by David Bowie, setting sail into uncertainties of the digital, sending us messages about a new spirituality from that yonder space. Inter-medial works based on computer graphics were used to create a universe in which own aesthetic and ethical rules were set, in the manner of visual arts, while traditionally representative typologies started emerging in an “urb-art” style. In the year 1991 everything came to a halt for a time, bar destruction and defence. Vukovar, Osijek, Dubrovnik, and many other, in fact almost all, cities and towns in the country became victims. Devastation, urbicide and subsequent reconstruction of the country have been discussed a lot in professional periodicals and publications. But, worse than the wounds endured by stones, bricks and wood were those suffered by human beings, the life and the spirit. A swift, due and dedicated reconstruction of cities in the years to follow was the cure for the latter. The late nineties in Croatia were also marked by cyclically reliable references to lessons from historical and modernist heritages, and the great EXAT exhibitions, from the perspective of everyday practice manifested by intensification of stimulated and similar housing programmes, an increased interest in sport typologies, and sporadic but continuous interventions in municipal spaces. The then architectural monthly, entitled Oris, was organised and initiated by architect A. Rusan at the time. After 2000 there was a feeling of social and professional impetus, which, along with housing development and arrangement of municipal areas, also inclined to larger, more ambitious spatial undertakings, whose origin and reason had probably occurred in the post-war era, recent shift in governing structures, collective psychology, conditions in the local and global markets and certainly some other things. At any rate, such changes coincided with the very end of the nineties, which, after the event, with their suppressed output, conceptual atmosphere, emphasis on certain typologies, and great social turmoils simultaneously seem as a contrast and prolegomenon of the following amplificational, constructional, vaguely optimistic, somewhat uncontrolled decade. In the first decade of the new century things turned for the better significantly in the sense of investments, breaking-in of legislation, adjustment of relations between the investors and professionals. Generally speaking – steps were being made to rectify the hectic and unreliable market. Major open competitions were completed and new ones initiated, construction was in great plenty, organisation was improved. After the domination of sacral development, family villas and historical reconstruction from the nineties, stimulated and some other scheduled, even original, housing estates were built, as well as residential-business structures, hotels, schools and kindergartens, shopping malls; historical compounds were reconstructed, municipal areas remodelled – often with sculptural memorials to recent war victims. Each of said typologies and themes gave birth to a number of dubious examples, but also some high-grade ones. An important fact that should be pointed out is that the complex reconstruction of the country after the destruction of war was mainly and most often carried out efficiently and diligently, particularly in historical cores. The atmosphere of shadowy entrepreneurship was replaced by breaking-in of government, even by public reactions and initiatives, though with strong centralisation in several basic points of economy and administration. Yet, this period did not last long; it ended rather abruptly in a gust of wide economic crisis and stagnation, leaving many initiatives and processes unfinished, as well as a number of issues that are still current today. Many ways of city conceptualisation were proposed, analysed and described. For instance, the city was analysed as a historic artefact, as an economic system, a social system, a mode of communication. Consequently, under the existing political context, and correspondingly, approaches to urban planning were being developed and adjusted. What we are predominantly interested in here is a qualitative analysis of proposals concerning visions of the city or the urban ensemble made through plans and designs, as attained, autonomous, artistic achievements. Housing, in fact, its potentially convenient, questioned new – “civic clothes”, was certainly the main preoccupation in the beginning of the millennium, with the then outlook primarily leading to revised views of the organised housing estate. It was followed by intemperate plot efficiency coefficients, inherited from the nineties and additionally emphasised, a syndrome that was shifting from individual plots of land to larger settlements. Much has been spoken and written about the role of architects and urbanists in the new building-related circumstances with sporadic and unpredictable investments, the lack of housing strategies, urbanist conditions at times almost failing to consider municipal areas, an alleged inability to affect scopes and types of investments, to reach a consensus of ideas with local political bodies and their points of view, etc. Even though many obstructionary conditions of the precarious and fragmented practice of the society in constant adjustments do exist and are real, as well as bad decisions and incompetent judging at competitions for all typologies, particularly in urbanism, many examples in residential construction have contested this to a degree. Once the design stage has been attained, a significant, probably a major part of responsibility always lies with designers. In practice, there have been myriad examples pretty successful in intention, and those less successful, as well as such which would have been better off with no intention at all. Model examples within this extremely demanding urbanist discipline have been much less frequent. The familiar modernist tradition of dispositional organisation of housing estates, e.g. the consistency of the parallel set-up of parallelepipedous residential buildings in the Westhausen estate from the Neue Frankfurt programme, or Dammerstock near Stuttgart, from the second half of the twenties, as well as similar schemes in estates from the Zagreb modernist period, has also been respected in recent contexts. Nevertheless, in the case in point it is merely the matter of a basic, applied conceptual impulse. Designing of buildings within new estates, as opposed to the mentioned examples from the past, has often been characterised by playful expressions, distinct separate design identities, arbitrarily assigned views, in a word – ambiguous hierarchies. The outcome boils down to solid, simplified (mostly boring) schemes, with buildings mostly unacceptably close to one another, and poorly articulated municipal spaces among them. For example, in his reduced scientific analysis, W. Gropius formulated rules of distances between buildings, but only in relation to their height and fine insolation. Even this does not exist any longer. The space one enters upon leaving a building is equally important as designing a well-organised dwelling in it. A. Warhol claimed he liked boring things, while R. Venturi has consciously designed boring buildings, but no-one likes boring municipal spaces. Moreover, nowadays the environment is a priority matter, and contributions to the ambience should be of primary interest. Intentions in architecture and the final result are often completely different things. Sometimes, for instance when an urban ensemble is organised at two levels with an aboveground pedestrian platform, the ultimate impression is most often too artificial, with few people bothering to climb up, which makes this level underused, like a park on a roof or a gallery on the fourth floor. Furthermore, nowadays there almost exists an ideology on the need to stimulate social activities, contacts, communication among people, whereas the equally required privacy is neglected. Much has been spoken and written about the role of architects and urbanists in the new building-related circumstances with sporadic and unpredictable investments, the lack of housing strategies, urbanist conditions at times almost failing to consider municipal areas, an alleged inability to affect scopes and types of investments, to reach a consensus of ideas with local political bodies and their points of view, etc. Even though many obstructionary conditions of the precarious and fragmented practice of the society in constant adjustments do exist and are real, as well as bad decisions and incompetent judging at competitions for all typologies, particularly in urbanism, many examples in residential construction have contested this to a degree. Once the design stage has been attained, a significant, probably a major part of responsibility always lies with designers. In practice, there have been myriad examples pretty successful in intention, and those less successful, as well as such which would have been better off with no intention at all.
Venti anni sono un lungo periodo di tempo, tuttavia ancora percettibile dall’uomo. Informazioni sul numero delle vittime della seconda guerra mondiale o qualche disastro naturale potrebbero lasciarci indifferenti nonostante la loro inconcepibilità. Il tempo, come le storie personali, è percepito più intimamente, quando è possibile comprenderle con il nostro spirito, identificarci con esso. Con gli anni novanta è iniziato un periodo di grandi speranze e cambiamenti. Dopo la caduta del muro di Berlino e le aspettative per lo più sopravvalutate dallo spettacolare crollo del comunismo, il mondo ha registrato un ritardo e una ritardata liberazione dall’eredità della seconda guerra mondiale; senza contare sul dominio della tecnologia della comunicazione e dell’informazione in tutti gli ambiti della vita quotidiana. Nel bilancio seguito alla globalizzazione non si sono previste le ricadute sia in politica che in economia, le esplosioni di violenza, gli interventi militari, l’escalation del terrorismo, le tensioni etniche, religiose e territoriali e i conflitti. In pochissimo tempo, ciò che era rimasto in sospeso per perfidie e calcoli di interesse, questioni militari, trasformarono questi anni, in un’epoca che, con la forza del suo spirito retrogrado, aveva sorpreso gli idealisti e allertato tutti, con la consapevolezza che si trattava di questioni in gran parte superate, e che i meccanismi repressivi delle strutture comuniste erano stati uno, tra la miriade dei problemi a scala globale. Il nuovo millennio, che tutti stavano aspettando, è stato impietosamente colpito nello stesso compiacimento della civiltà occidentale - l’annientamento del WTC nel 2001 è diventato un simbolo terrificante di debolezza dei decisori politici del dopoguerra, cambiando per sempre la visione del mondo e della sicurezza nel suo contesto. Il cinismo che questa distruzione ha riversato sull’architettura, alla ricerca dei suoi punti deboli, ha trasformato il ruolo dell’architettura stessa da un atto umano sublime in strumento impotente, e indirettamente ha toccato valori di civiltà generali, e ossessioni sociali che si erano create ed erano state promosse nel corso di un secolo affascinato dalla produzione di massa, dalla standardizzazione, dalla meccanizzazione e dalla megalomania positivistica. Il disastro ha respinto l’usuale trattamento delle informazioni nei mezzi di comunicazione, il caos e le vittime, i centri urbani sono divenuti centrali. Il mondo era in bilico e legato, era un momento di difficoltà, caratterizzato da conflitti ed esclusività, lo spirito giubilante dell’Europa, guida internazionale della fine degli anni Ottanta, era stato dimenticato. Il consumatore tipico, creato, incoraggiato e corteggiato per tanto tempo, fino a poco tempo fa un cittadino comodo, educato nel tempo, finalmente aveva raggiunto un periodo progettato secondo le regole del mercato, apparentemente destinato a lui, e non voleva essere disturbato da dubbi nel suo percorso verso un paradiso costruito su stereotipi riadattati. L’emergere di quantità ipertrofiche, l’esuberanza di gadget ad ogni angolo, e il logico automatismo derivante da ciò, erano cibo per il culto del mercato, piattaforme di numeri e indici autosufficienti, di conseguenza, che cancellavano tutte le necessità per l’obsolescenza di scolastiche tradizioni di analisi sociali. Allo stesso tempo, siamo rimasti vacillanti, scoraggiando estremismi e ipocrisie, alla ricerca e annunciando una pletora di cose nuove, mentre le questioni familiari sono rimaste irrisolte nella forma dell’ambivalenza, tra nevrosi e anomalie sociali. L’era del consumatore non risparmia alcun tempo ed è avversa a informazioni indigeste, anche quando riguardano aspetti cruciali dell’esistenza, dell’anima, e della saggezza. Le tecnologie avanzate e l’estetica del computer hanno considerato l’estetica della civiltà occidentale come una conchiglia, ma in un modo da “seconda mano”, cioè come un modello di produzione di nuovi magnati di un nuovo capitalismo. Le linee di produzione dell’Estremo Oriente sfornano una massiccia, ma per niente amichevole, modalità di sfruttamento di pornografia orientale e nostalgia occidentale, memorie di momenti gloriosi del genere omicida del ventesimo secolo, delle sue icone moltiplicate, dubbie mercanzie vintage, spesso realizzate attraverso la sofferenza di uomini e animali – di fatto, tutto ciò che poteva essere in vendita. Foreste millenarie sono state spazzate via, insieme con la loro fauna; anche l’acqua e il clima hanno sofferto, tutto al fine di trarne profitto per generose donazioni a qualche attività ammissibile pubblicamente. Il trattamento estremamente brutale inflitto agli animali è stata la difesa che ha sostenuto le industrie alimentari, cosmetiche, farmaceutiche e della moda. Il turismo planetario è fiorito, ma, dietro le quinte del termine onnipresente della globalizzazione, solo il mercato si è trasformato in una entità veramente multiculturale. Assorbiti dai telefoni e dai tabloid digitali in un modo che avrebbe fatto vergognare i nostri antenati, nonostante l’amicizia prevista con le personalità automatizzate, chip al silicio, e più in generale con l’intelligenza artificiale che ci ha presumibilmente sorpassati dal punto di vista evolutivo, per il momento si può dire con certezza che abbiamo anche legato con la leggerezza. Non esiste nulla, non della carne, della mente, né di una visione soprannaturale, che non sia stato registrato con entusiasmo e caricato senza scrupoli sui cosiddetti social networks, mentre la differenza tra il libero pensare e quello contaminato sta diventando sempre più ambiguo. Oltre ai contributi inconfutabili della tecnologia e del flusso di informazioni, o di relazioni su uno standard presumibilmente migliore “pro capite”, la precarietà migratoria, sociale ed ambientale è la vera era che abbiamo ereditato, non solo in paesi “abituati” a questo. Secondo i dati statistici presentati da N. Chomsky, lo stato della Gran Bretagna e la città di Boston sono aree con alte percentuali di popolazione impoverita e denutrita della popolazione, particolarmente per quanto riguardo i bambini. Seguendo lo sfruttamento dei media della morte, della fame, dei disastri naturali ed ambientali, normali come i programmi televisivi, così come le notizie giornaliere su rappresaglie inostacolate da parte di oppressori nei confronti di molti esseri innocenti e inermi, sembra che le apocalittiche visioni agiografiche siano state silurate. Tuttavia, la scienza e la medicina, così come qualsiasi cosa connessa con il progresso tecnologico si sono precipitate in avanti – siamo in grado di segnalare immediatamente sia una buona che una cattiva notizia, di comunicare con più facilità, siamo diventati più efficienti, tecnicamente più produttivi, più sensibili alle questioni riguardanti la conservazione della natura, più consapevoli, persino più riconciliati. Oltre alla sua esagerazione intrinseca, il pensiero nietzescheano ha finalmente dimostrato di essere almeno formalmente e teatralmente anticipatorio – il ventesimo secolo è pieno di esaltati, “superuomini” che gettano uno sguardo condiscendente su un genere umano completamente diverso. Soprattutto fissano gli schermi dei loro servili, fragili, redentori computer portatili. All’ultima svolta del secolo, lo sviluppo delle delibere pianificatorie e della progettazione architettonica hanno comportato un potente e mirato stimolo degli attuali cambiamenti sociali, dopo lunghi preparativi, decisamente e irreversibilmente, attraverso i metodi di analisi, di percezione e di rappresentazione dello spazio verso il regno del virtuale. Molto prima, si poteva sentire un adeguamento del metodo di tendenze provenienti da epoche precedenti, nella forma di un nuovo modo di pensare, immerso in evocazioni postmoderniste, e in particolare annunciato dalla comparsa di sinapsi decostruttiviste. La metamorfosi attesa per tutta la seconda metà del secolo, nella sfera estetica è emersa nella secolarizzazione della tecnologia e della scienza, separando i due ultimi decenni espressivamente. Il processo seguito dall’annuncio manifesto della fine di una influente ed estesa visione mondiale modernista, è stato incarnato in termini reali soltanto per la sua trasformazione logica ed evolutiva. Le entità di un nuovo alfabeto grafico, ed i suoi strumenti, erano legati a tutto ciò che era razionale e scientificamente consolidato nel pensiero architettonico del ventesimo secolo. Per esempio, per studiare le impostazioni del disegno al computer e delle applicazioni grafiche a livello utilitaristico, era sufficiente essere in grado di identificare velocemente e rapidamente l’acume e la permanenza della comprensione modernista della modellazione spaziale. L’emergere dell’idea del “moderno” ha rappresentato uno sconvolgimento nella definizione di bellezza, così come dell’urbanità storica e del suo futuro, che intimamente attendeva nello spirito del tempo. Si stava cercando di raggiungere lo “scientifico” nella pianificazione urbana fin dalle prime definizioni della città funzionale. Ristrutturando la tesi, facilitati dal potente supporto della tecnologia, nonostante un cambio di esigenze, ancora conserviamo e interpretiamo tali sforzi, solo occasionalmente facendo trapelare tracce del nuovo gusto. La descrizione del postmodernismo è considerata superata, ma ci sono versioni della eclettica, soprattutto associativa, che sono ancora esistenti al giorno d’oggi, derivanti da rimodellati sistemi di valori, così come le nuove modalità di formazione. La produzione recente è stata spesso nostalgica e analitica. Si è manifestata in alcune realizzazioni attraverso una essenza dinamica della sua genesi radicata nel presente, cioè, per mezzo di un altro idioma del moderno - un nuovo utilitarismo. La schiera di architetti significativi del XX secolo è lunga e ben nota. Spesso si tende a considerare le loro opere come patrimonio importante e interessante degli ultimi tempi. Oggi questo patrimonio è fortemente presente non solo nell’architettura, ma anche nelle sue derivazioni indotte dai media. Architetti-urbanisti visionari, come T. Garnier, FL Wright, Le Corbusier, M. Van der Rohe, L. Kahn, A. Aalto, O. Niemeyer e molti altri, infatti, ci hanno arricchito non solo con le loro teorie, ma ci hanno anche insegnato come creare una potente architettura urbana derivata dalla serietà contemplativa e dalla sincerità. I creatori di recenti e attuali scene architettoniche globali sono usciti dalla tradizione appena descritta. Mentre i fenomeni sociali, la filosofia, la creazione poetica, altre culture o tradizioni architettoniche stanno intensamente indirizzando la società attuale, agendo polemicamente, cercando di comprendere e anticipare il ritmo accelerato del mondo; i creatori prolifici e influenti della scena architettonica più recente, come A. Siza, J. Nouvel, R. Koolhaas e molti altri, in risposta a qualsiasi compito di diversificazione, hanno costruito su modelli e impostazioni tipici del XX secolo, che resteranno la base di concetti architettonici contemporanei, anche quando la tecnologia si sarà inevitabilmente evoluta. Nuove tendenze, nuovi criteri, nuove possibilità e nuove grafiche di una nuova era che ha ancora a che fare con argomenti vecchi e probabilmente eterni riguardo ad abitazioni, spazi comuni, strutture pubbliche, interpolazioni, ma anche con l’etica, l’estetica e la poesia dello spazio. Tuttavia, l’atteggiamento verso ciò che è diverso, innovativo e avanzato è cambiato, passando dall’incomprensione precedente, dalla rinuncia e dalla pietrificazione di valori verso lo spettacolo del “prodotto” destinato per la moltiplicazione. Ci sono strani effetti collaterali alla continua disponibilità di informazioni nel mondo della progettazione architettonica - molta conoscenza superficiale, molto cattivo gusto futurista, ma anche molto pensiero architettonico interpretato acriticamente. Molta “decorazione costruita” di Venturi. Pertanto, la sensazione e la necessità di una selezione, di una riconsiderazione, alla ricerca dei limiti e del riconoscimento delle proprie convinzioni e sentimenti, una catarsi eumorfica, sta diventando sempre più intensa. In questo preciso momento, preoccupati dai progressi nelle scienze tecnologiche ed informatiche, tutto ciò che è bello, etico, ambientale, “sostenibile”, ancora sembra che abbia più a che fare con un’eco di un presunto passato proscritto che con l’annunciato futuro. Gli anni ottanta, dalla Biennale di Venezia del 1980, con il tema della Presenza del Passato, diretta da P. Portoghesi e C. Jencks, e la mostra Teatro del Mondo di A. Rossi come rappresentante fondamentale del neo-razionalismo italiano, alla mostra Deconstructivist Architecture al Museum of Modern Art di New York, organizzata e ideata da Ph. Johnson e M. Wigley, sono stati caraterrizzati da una grande influenza del postmoderno e dalla sua interfusione con la tradizione modernista, secondo la quale la maggior parte degli architetti di allora erano stati educati. Mentre J. Stirling stava completando le sue composizioni scultoree, riferendosi alla Scuola di Glasgow, i libri scritti da C. Jencks, R. Venturi, L. e R. Krier e altri, avevano lo scopo di organizzare e definire questa metamorfosi multiforme. Nel gennaio del 1979, Ph. Johnson appare sulla copertina della rivista Time, con un modello iconografico tra le mani e una posa profetica, che immediatamente lo conferma come una nuova stella dell’architettura commerciale. La scena architettonica era “sotto attacco” da parte delle varianti del Portland Building, dell’AT & T Building e da altre strutture di culto di quel periodo, mentre il bipolarismo si stava riflettendo in un contatto della diversità - lo storicismo dei colonnati di A. Rossi e la decostruzione di D. Libeskind. Usurati a causa dei molti “ismi”, del rigore del dopoguerra e della visione del mondo materialista, gli architetti adottarono ereticamente il burlesque postmoderno come un omaggio alla individualità e al diritto di opinione, anche per fare qualcosa di diverso, trasgressivo. Anche per l’architettura croata gli anni ottanta sono stati un periodo instabile. Influenze postmoderne erano state percepite molto prima, ma il più grande cambiamento rilevato al tempo riguardò principalmente la differenza tra l’esperienza e la visualizzazione dell’urbanità. A partire dall’ultimo CIAM tematico del 1951, la visionarietà urbanista fu criticata per molto tempo, per aver trascurato il centro città e aver rafforzato l’espansione ideologica e il culto collettivista, che aveva cambiato il suo corso sia in Croazia sia in altri luoghi europei ed extra europei e, con grande interesse, aveva posto l’attenzione sul più classico e letterale senso di urbanità. Gli architetti avevano espresso le loro opinioni sul tempo attraverso interpolazioni, di varie tipologie di strutture pubbliche e spazi, disegni urbanistici o atmosfere artificiali. Questo portò ad una combinazione di sagacia tradizionalista e una recente facilità specifica, ancora una volta sobria, manifestatasi per lo più nell’uso di nuovi materiali e dei dettagli. In definitiva, il risultato di questo scontro in genere non può essere chiamato postmoderno, a volte nemmeno tardo modernista, ma è possibile tracciare segni di espressioni locali specifiche o almeno di norme procedurali, che, unite alle differenze regionali, si riflettevano in esempi significativi in molte città. Eppure, le polemiche teoriche e le inclinazioni professionali complessive del tempo non erano dedicate tanto all’atipicità stilistica regionale quanto piuttosto alla formulazione e all’applicazione locale di interessanti tesi postmoderne. L’impresa evolutiva successiva, a Zagabria è stata caratterizzata da un’architettura caratterizzata da un approccio marcatamente urbanistico, nonché dalla costruzione di numerose importanti architetture. Dopo l’accademismo e il clamore degli anni Ottanta, gli anni novanta sono iniziati con un tono decisamente diverso. La sintesi e la purificazione erano stati previsti e avevano progredito in un modo interessante. Si verificò una svolta al polo opposto: era di nuovo il turno per il gusto della modernità, in tutti gli ambiti - dalla produzione alla presentazione dell’architettura e dell’urbanistica. La portata della teorizzazione diminuiva, le riviste di architettura venivano riempite con viste elaborate, dettagli tecnici, modelli sofisticati e modificati, concetti grafici in genere più ambiziosi. Il minimalismo e il colorismo codificato erano presentati come l’affinità modernista liberata dagli eroismi. Erano invocati anche i tetti tradizionali della Scuola di Amsterdam, con la loro plasticità e l’astrazione artistica modernizzata nel processo. Il già affermato termine “genius loci” era ancora in uso frequente, in particolare in relazione alle eccellenti pratiche situazioni regionali topograficamente più marcate. Le visioni urbanistiche complete sono state attuate in altre parti del mondo, modellando o trasformando il territorio, spesso nel contesto di banchine e porti nei grandi centri, terminal, ma anche parchi, passeggiate e altre strutture pubbliche, trasformando zone tradizionalmente difficili in attrazioni spaziali e architettoniche (Amsterdam, Amburgo, Londra, Barcellona, Seattle, Tokyo, ecc). L’ossessione per la terra, e le combinazioni di temi e questioni architettoniche e urbanistiche sono state portate avanti ed intensificate in seguito, dando origine ad una serie di analisi e applicazioni di modelli urbanistici come i “tappeti urbani”, i “grappoli”, i “paesaggi urbani”, ecc. Gli enormi centri commerciali sono diventati una tipologia sempre più in aumento. La stessa tipologia è stata applicata alla costruzione sacrale nei paesi in transizione, e non solo. Opponendosi alla separazione dalla grande scala dei trasporti e delle funzioni, e secondo le manipolazioni allora in corso con la terra e le modalità di redazione, venne suggerito un metodo urbanista frammentario, una sorta di “patchwork”: dopo aver selezionato grandi appezzamenti di terreno o favelas all’interno delle città, venivano trattati con schemi in cui si tentava di prendere in considerazione tutti gli aspetti legati all’uso e al design. L’edilizia abitativa stava seguendo e glorificando i modelli di comportamento della società e le esigenze per la rinascita dei valori conservatori e il collettivismo civico e un po’ conformista: gli spazi pubblici parziali, di uso comune, verdi e pubblici non erano più astratti e indefiniti, ma naturali, luoghi intimi con i quali gli occupanti si riconoscevano e che idillicamente utilizzavano. Il quartiere si trasformò in un prolungamento idealizzato e attivamente progettato della casa; la professione dell’ architetto invocava e stabiliva una società che si stava umanizzando e civilizzando, simulando l’immagine delle etiche liberal scandinave. Nelle lussuose versioni occidentali, e nello spirito della riconciliazione universale “new-age”, sono stati sperimentati anche i modelli di residenze collettive della ex Unione Sovietica, destinati ai giovani, in grado di selezionare i limiti e le modalità di utilizzo degli spazi comuni. La scena architettonica progrediva lentamente, guidata da persone nuove; una nuova generazione stava emergendo, i campi artistici computerizzati venivano unificati, c’era la sensazione di ripartire da zero, di un nuovo graficismo che si riesaminava ed esprimeva attraverso codici, schemi, riassunti. Allo stesso modo, ma in modo reversibile, la nuova società automatizzata è stata analizzata attraverso metodi di collage, diagrammi e distanze, con l’architettura e l’urbanistica che appaiono come contrappunti o liberazioni, e l’imperativa “zonizzazione” che si stava trasformando in qualcosa di più grande di una semplice procedura. Un certo numero di giovani designer di qualità si stavano rivolgendo a famiglie e studenti, attraverso abitazioni, centri culturali, alberghi-ostelli, spazi pubblici, ovvero tutto ciò che era “sociopolis”. La rappresentatività, quando non proveniva dalla “disinformata” fabbrica di grattacieli di Shanghai, necessaria nella moda luterana, rinunciò alla sua ambivalenza, così come al significato pubblico. Questa ambivalenza si era verificata nelle versioni più concise ed elementari dei noti modelli di urbanistica e di architettura. Le transizione e le altre scene architettoniche, emarginate fino ad allora, democraticamente diventarono gli oggetti di interesse. (Alcuni) architetti avevano imperativamente a che fare con il futuro; qualcuno aveva insistito sulla comprensione e sull’animazione di qualità dinamiche in momenti tecnologici e scientifici, sulla relazione e sulla logica di tali momenti per natura; ci sono stati dibattiti sulle necessità, validità e modernità, esplorazioni e promozioni del termine dell’era digitale, super arbitrato del paesaggio fuori scala, un’estetica esigente derivante dalle manifestazioni elettroniche e dalle causalità. Terminologie ed informazioni scientifiche di frattali, binari, vite segrete dell’“informazione” liberata competevano con l’allora classica etimologia architettonica, così come con la natura organica della vita. Sotto l’impatto delle minacce e dei cambiamenti climatici, ma sicuramente anche a causa di una certa stanchezza nostalgica rispetto al ruolo della tecnologia, vi è stato un rafforzamento intensivo di consapevolezza ambientale per sviluppare un’auspicabile, per quanto spesso influenzata, relazione con la natura. Il concetto di “Naturartificazione”, per definizione “un’utile fusione di naturale ed artificiale” effettivamente ancora in gran parte si manifestava attraverso costose ed irrigate aree verdeggianti, facciate di rappresentanza, l’idea di coltivare autonomamente, altamente promossa ma la maggior parte delle volte non realizzata, ecc. Nel mondo del computer e della modellazione delle simulazioni abbiamo visto riflettersi le teorie psicoanalitiche, i sogni, il surrealismo, lo sfruttamento aperto e legittimo del subconscio, intuitivo, complesso, infantile, ma anche privo delle illusioni tipiche di Freud. Gli anni novanta sono stati un periodo che si è imposto come un rovesciamento specifico e marcato rispetto a ciò che lo aveva preceduto, successivamente in fase di bilanciamento e normalizzazione. E’ stato un decennio carico, che in generale ha apportato troppo dal punto di vista formale di una miriade di prove e aspirazioni, ma è rimasto ancora ambiguo dal punto di vista della pianificazione e della progettazione fisica. Anche se non sarà sicuramente ricordato come uno standard manifestamente ottimista in termini di attuazione e di risultati medi generali, il suo ruolo critico esplorativo e appena coniato, l’aspetto e la definizione di nuove personalità artistiche significative, non possono essere negati, così come il fatto che i valori esistenti in quel periodo venivano indirizzati verso pulsazioni ed esperienze artistiche essenzialmente nuove e complesse. E’ iniziato seguendo lo sviluppo della grafica digitale, che stava facendo i suoi primi passi in uso generale, seguendo un processo che fu indiscutibilmente incoraggiato. Avendo raggiunto le porte del contemporaneo occidente orientato al mercato, i progettisti croati stavano prendendo un corso accelerato di “nuove regole del gioco”, secondo il motto di allora: “tutto ciò che ti serve è il CAD ”. Negli scritti in stile manifesto, prominenti giovani architetti stavano difendendo le deposizioni della tipica pratica architettonica caratterizzata da suggestive prospettive disegnate, da forme studiate, dal modernismo stesso, interpretando in modo più apocrifo che difensivo, la nuova era del consumismo, generalmente accessibile in quella che era un’unione apparentemente incompatibile con le marche, oppure stavano “mollando il territorio” e, come l’eroe della famosa canzone senza tempo di David Bowie, salpavano verso le incertezze del digitale, inviandoci messaggi riguardo la nuova spiritualità di quello spazio laggiù . Opere intermodali basate sulla grafica digitale venivano utilizzate per realizzare un universo di cui venivano impostate regole estetiche ed etiche, come per le arti visive, mentre le tipologie di rappresentazione tradizionali iniziavano a sfociare in uno stile “urb-art”. Nel 1991 tutto si fermò per un momento. Vukovar, Osijek, Dubrovnik, e molte altre città e cittadine del paese, divennero vittime. In molte riviste specializzate e varie pubblicazioni si è scritto molto della devastazione e della successiva ricostruzione del paese. Ma, le ferite peggiori non furono quelle subita dalle pietre, dai mattoni e dal legno, ma quelle inflitte agli esseri umani, alle loro vite e al loro spirito. La cura per costoro è stata una rapida, necessaria ed attenta ricostruzione delle città negli anni a seguire. Gli ultimi anni novanta in Croazia sono stati caratterizzati anche da riferimenti ciclici a lezioni sul patrimonio storico e modernista, e sulle grandi mostre EXAT , dal punto di vista della pratica quotidiana manifestatasi con l’intensificazione dei programmi di edilizia abitativa da un crescente interesse per le tipologie sportive, e da sporadici ma continui interventi in spazi comunali. Il mensile di architettura di allora, intitolato Oris, nacque grazie all’architetto A. Rusan. Dopo il 2000 c’era un atmosfera di slancio sociale e professionale, che, insieme allo sviluppo immobiliare e alla disponibilità di aree pubbliche, anche propenso a più grandi, ambiziose imprese spaziali, la cui origine era probabilmente avvenuta nel dopoguerra, e recentemente aveva influenzato le strutture governative, la psicologia collettiva, le condizioni nei mercati locali e globali. In ogni caso, tali cambiamenti hanno coinciso con la fine degli anni Novanta, i quali, con la loro produzione repressa, l’atmosfera concettuale, l’accento su alcune tipologie, e i grandi tumulti sociali, sembrano opporsi al successivo decennio, amplificativo, costruttivo, vagamente ottimista e apparentemente incontrollato. Nel primo decennio del nuovo secolo le cose sono volte al meglio soprattutto per quanto riguardò gli investimenti, l’irruzione della legislazione, la regolazione dei rapporti tra investitori e professionisti. In generale si stava cercando di correggere il mercato frenetico e inaffidabile. Furono portati a termine i principali concorsi aperti e ne furono avviati di nuovi, i maggiori concorsi sono stati completati e quelli nuovi iniziati. Si costruiva in grande abbondanza, l’organizzazione fu migliorata. Dopo la dominazione da parte dello sviluppo sacrale, delle ville familiari e della ricostruzione storica degli anni Novanta, furono costruiti complessi residenziali, così come strutture residenziali e commerciali, hotels, scuole ed asili, centri commerciali; i complessi storici furono ricostruiti e le aree comunali rimodellate - spesso con monumenti dedicati alla memoria delle recenti vittime di guerra. Ciascuno di questi temi e tipologie ha dato vita ad una serie di esempi dubbi, ma anche ad alcuni di alto livello. Un fatto importante che deve essere sottolineato è che la complessa ricostruzione del paese dopo la distruzione della guerra era spesso e volentieri effettuata efficientemente e diligentemente, soprattutto nei centri storici. L’atmosfera di imprenditorialità ombrosa fu sostituita dall’irruzione del governo, anche attraverso reazioni e iniziative pubbliche, anche se con un forte accentramento in alcuni punti nodali dell’economia e dell’amministrazione. Tuttavia questo periodo non durò a lungo; terminò piuttosto bruscamente in una folata di ampia crisi economica e di stagnazione, lasciando molte iniziative e processi incompiuti, così come molti problemi ancora attuali. Sono stati proposti, analizzati, e descritti molti modi di concettualizzazione della città. Ad esempio, la città è stata analizzata come artefatto storico, come sistema economico, come sistema sociale, come metodo di comunicazione. Di conseguenza, nel contesto politico attuale, venivano sviluppati e adattati gli approcci alla pianificazione urbana. Ciò che qui ci interessa principalmente è un’analisi qualitativa delle proposte relative alle visioni della città o dell’insieme urbano effettuate attraverso piani e progetti, come obiettivi da raggiungere. Infatti, le dubbie nuove “vesti civiche”, potenzialmente convenienti, dell’edilizia sociale, erano certamente la preoccupazione principale all’inizio del millennio, con la prospettiva che portava soprattutto alle vedute rivisitate del complesso residenziale organizzato. Seguì una trama smoderata di coefficienti di efficienza, ereditata dagli anni Novanta e maggiormente enfatizzata, una sindrome che si stava spostando da singoli appezzamenti di terreno verso insediamenti di maggiori dimensioni. E’ stato detto e scritto molto a proposito del ruolo di architetti ed urbanisti nelle nuove circostanze in relazione al costruire caratterizzate da investimenti sporadici ed imprevedibili, dalla mancanza di strategie abitative, dalle condizioni urbanistiche che a volte non consideravano le aree pubbliche, da una presunta incapacità di influenzare le tipologie di investimento, per raggiungere un consenso di idee con i corpi politici locali e i loro punti di vista. Anche se esistono realmente molti ostacoli nella precaria e frammentata pratica della società in continuo adattamento, così come decisioni sbagliate e giudizi incompetenti in varie tipologie di competizione, soprattutto nell’urbanistica, molti esempi di costruzioni residenziali sono stati discussi in sede di laurea. Una volta raggiunta la fase di progettazione, una parte significativa, probabilmente la maggiore, parte di responsabilità, risiede sempre con i progettisti. In pratica, ci sono stati innumerevoli esempi di successo nelle intenzioni, e quelli meno riusciti, così come quelli che sarebbe stato meglio non venissero concepiti. Esempi modello all’interno di questa disciplina urbanistica estremamente esigente sono stati molto meno frequenti. La familiare tradizione modernista di organizzare geometricamente i complessi residenziali, come ad esempio la consistenza della disposizione parallela di edifici residenziali parallelepipedi nella tenuta Westhausen del programma Neue Frankfurt, o Dammerstock vicino a Stoccarda, risalenti alla seconda metà degli anni Venti, o come i sistemi analoghi del periodo modernista di Zagabria, sono stati esempi recentemente rivalutati. Tuttavia, in questo caso specifico si tratta puramente del basico impulso concettuale applicato. La progettazione di edifici all’interno di nuovi possedimenti, in contrasto con gli esempi citati del passato, è stata spesso caratterizzata da espressioni giocose, distinte identità progettuali, viste arbitrariamente assegnate, in una parola, gerarchie ambigue. Il risultato si riduce in schemi semplificati, spesso noiosi, con edifici inaccettabilmente vicini gli uni agli altri, e gli spazi pubblici interstiziali scarsamente articolati. Ad esempio, nella sua analisi scientifica, W. Gropius formulò regole di distanze tra edifici, ma solo in relazione alla loro altezza e al corretto irraggiamento solare. Anche questo concetto non esiste più. Lo spazio in cui si entra dopo aver lasciato un edificio è altrettanto importante quanto la progettazione di una casa ben organizzata. A. Warhol sosteneva che gli piacevano cose noiose, mentre R. Venturi ha progettato edifici noiosi consapevolmente, ma nessuno ama gli spazi pubblici noiosi. Inoltre, al giorno d’oggi l’ambiente è una priorità, e i contributi ad esso dovrebbero essere di interesse primario. In architettura, le intenzioni e il risultato finale sono spesso cose completamente diverse. A volte, per esempio quando un insieme urbano è organizzato su due livelli con una piattaforma pedonale fuori terra, l’impressione finale è molto spesso troppo artificiale, con poche persone che si preoccupano di salirci, il che rende questo livello sottoutilizzato, come un parco su un tetto o una galleria al quarto piano. Inoltre, al giorno d’oggi esiste quasi una ideologia sulla necessità di stimolare le attività sociali, i contatti, la comunicazione tra le persone, mentre la rispettiva vita privata necessaria è trascurata.
“Stupidity is something unshakeable, nothing attacks it, without
being crushed upon it... At Alexandria, a certain Thompson
from Sunderland has described his name in letters six
feet high on Pompey’s pillar. You can read it a quarter of a
mile away. You cannot see the pillar without seeing the name
of Thompson, and consequently, without thinking of Thompson.
This cretin has become part of the monument and
perpetuates himself with it. What do I say? He annihilates it
under the splendour of his majestic letters...
All fools are more or less Thompsons from Sunderland. In
the course of one’s life, how many of them one meets in its
most beautiful places, on its purest angles. Travelling, one
meets many of them… But as they pass quickly they simply
amuse us. It is not so in ordinary life, when they end by making
you savage.”
Gustav Flaubert
“La stupidità è qualcosa di incrollabile, nulla la attacca, senza
venire schiacciato su di esso ... Ad Alessandria, un certo
Thompson del Sunderland ha scritto il suo nome in lettere di
due metri di altezza sulle colonne di Pompei. Possono essere
lette da cinquecento metri di distanza. Non si può vedere la
colonna senza vedere il nome di Thompson, e, di conseguenza,
senza pensare a Thompson. Questo cretino è diventato
parte del monumento e perpetua se stesso con esso. Cosa
dico? Egli lo annienta sotto lo splendore delle sue maestose
lettere.
Tutti gli sciocchi sono più o meno Thompons dal Sunderland.
Nel corso della propria vita, quanti di loro se ne incontrano
nei posti più belli, negli angoli più puri. Viaggiando, se ne
incontrando molti come loro… Ma appena passano veloci,
loro semplicemente ci divertono. Non è così nella vita di tutti i
giorni, quando finiscono con il trasformarti in un selvaggio.”
Gustav Flaubert
Speaking of Croatian architectural and particularly urbanist
activities and realities, like a compulsion, a seemingly excess
add-on to be reckoned with nevertheless, there also appears
a certain revolt, almost bitterness, due to a universal overflow
of devastation and survival of its “undertakings”. The cause
of devastation is hard to formulate within the architectural or
historicist terminology, since it is mainly uncontrolled, just
as it is sometimes difficult to address it, but this may be the
very reason why we witness white noise in Croatian society in
communication and efficiency alike. Architects and urbanists, in their reasonable, mostly successful
ambition to maintain European and global standards
in their work, and in the course of permanent professional
struggle, including the one inherent in their job – the relations
among investors-relevant authorities-associatescontractors
– are somewhat too concentrated on a given task
they have or wish to consider. Politicians, on the other hand,
when not dealing with interest-related construction of public
image, mostly “have no time” to delve into this issue seriously.
In opposite cases, rapid shifts in administration and
volatile impact frustrate all resolute reactions. Likewise, media
and tourism propaganda, that is, verbosity systematically
reflecting the social inertia, but also the inherited (grounded)
legend of a country with great natural beauties which seemingly
(ungroundedly) “have evolved almost of their own
accord”, in their everyday use sustain the irrational and uninformed
attitude to the real situation. This real situation also
implies that the Croatian coast, this area with high natural
and livelihood potentials, historical-urban, architectural, and
diverse cultural treasures, has been severely and alarmingly
devastated.
Examples of devastation in the very littoral area are not only
myriad, but it can be easily claimed that proper procedures
are in general more an exception than a rule.
But, the intriguing (and irritating) fact is the question why
Croatia (professionals, overall administration, legislation),
with respect to her valuable, specific, “astylistic”, fragile and
singular heritage, tradition and even its European position,
has been reacting to physical issues so slowly, inertly and
feebly, as if this has not been the matter of survival and irreversible
process, and why does it seem she has been giving
time to all kinds of devastations?
In particular, we should constantly and always point out the
frequent, crucial, and unfortunately problematically hazardously
neglected inadequacy in evaluation of all, and especially
the significant locations. In Croatia, strategic locations,
buildings, areas, urban plans have constantly been evaluated
at competitions by inadequately organised juries, lacking in
experience, know-how and professional references, as well
as in responsibility with respect to what they allegedly assess. It has also been quite possible in Croatia to see people
making arbitrary decisions with full confidence in regard to
most delicate physical themes and locations, “evaluating”
complex physical studies in strategic urban points to accept
solely interest-directed, professionally completely uninvolved
individuals, local authorities, investors. Devastation has also
reflected at the decision-making level in self-imposed, nonprofessional
arbitration by local authorities concerning physical
planning priorities, as well as in resultant destruction.
One of the issues in urbanist practice is certainly the manner
of organisation in education. We are living in an age that
shows no quarter to ignorance, inertia, self-contained (quasi)
science. The only way to adequately implement education in
urbanism is to keep it up to date with the practice, to render
it initiatory, focused, alive. The knowledge of urbanism
should therefore be conveyed primarily by the individuals who
practice it, have a good grasp of it, and are active and prolific
authors. One of the basic priorities of this society is to create
such educational climate, instead of obviously and systematically
disputing it. This is the only way to form an equally professional
climate – urbanists and architects feeling qualified,
even obliged to react to issues, to act in critical fashion, comprehensively.
This is the only way to start the requisite, long
and in no way easy task of curbing bureaucratic red tape,
self-sufficiency of institutions, blurry, inefficient hierarchy in
decision-making with respect to physical priorities. Otherwise,
which unfortunately is the case currently, there occur
social constellations in which professionals’ voice is rendered
silent, ineffective, lame, unacceptably resigned, in a word –
irrelevant – the same as with paving the road to creation and
knowledge. What is more, in a country which is still so far
away from any satisfactory “order” in this sense.
Beyond any doubt, “zoning” has had a controversial role in
planning. “Zoning” can pretty often be a smoke-screen for
ignorance and arbitrary judgement. It has brought more bad
than good, particularly in generally simplified and simultaneously
overstandardised planning.
Successful architectural-designing or urbanist procedures
require not only theoretical or scientific aspirations of architects,
urbanists or designers. Creativity, a sense of space, artistic sensibilities and professional
expertise and practice are essential to achieve good
results. Describing P. Klee’s painting “Polyphonic Architecture”
in his book “Design of Cities”, E. Bacon said the following,
inter alia:
“The water-colour by Paul Klee opposite expresses the
interrelation of planning and architecture. Here the grey
rectangles suggest areas defined in accordance with usual
planning procedures, and the architecture gives a glow which
illuminates the whole. The architectural rhythms, occupying
only a small part of the area, set up a harmony which reverberates
through all the spaces, showing that it is not necessary
to design in detail every square foot of an area to achieve
a great and unified work.…The very determination of the point
of juncture of the self-conscious architecture and the anonymous
city is a sensitive and complicated matter, worthy
of the attention of the best designers. It cannot be done by
statistics, computer, or Zip-a-tone on maps. It is a problem
the very essence of which is in the nature of design. This is
the kind of decision which is usually left to the statistician
and the administrator, to be made before the designer starts
work. Klee makes it sharply clear that such a procedure of
itself lacks life-giving qualities and that, as a procedure, it
would defeat its purposes.”
All the participants in planning procedures, in creation of
cities, i.e. urbanists/architects, have to ask themselves about
the artistic procedure, its current relative position, be they
authors or aides in its bringing to life. Otherwise, our actions
are wrong, our “planning” unnecessary, bureaucratic, selfsufficient
and, above all, detrimental.
To attain art in the urbanism or, after all, in any other creative
work, that is, any deliberation, means to overcome a
series of seductive deceptions, encountering own sincerity
and emotion. It also comes down to setting up autonomous,
internal dialogue with the basic, experienced ethical priorities,
forming a system of thought and preferences that serves
to examine not only development, but, even more so – lack of
development. Let us regard lack of development in this sense
as a discipline leading to a definite impression, thought, attitude,
moral predisposition, authentic, non-banal, unforwarded, unreconciled attitude to space, circumstances, tasks
at hand. The system of voids – recognised, non-developed
and undevelopable, i.e. protected areas in cities – means an
axis of the structure of their identities. Whether this concerns
a system of parks, streets, squares or quite important
spots, green areas, water bodies, lawns with groves, fields,
topographic specifics and historical or cultural heritage, or
anything else recognised as value, memory or potential, this
“non-developed” section is in fact the essence of influential,
identificational municipal spaces and their eugenic.
This code, a kind of an archipelago with islands of developed
in the sea of municipal non-developed, green and environmental
spaces, is manifested in all urban and particularly
clearly in “hyper-urban” situations, viz. under evident planning
aspirations within them. Sketches showing networked
urban spatial benchmarks are always layouts of the very
sort – of layered “creative non-developed” areas, requiring
serious skills and knowledge, as well as fulfilment of complex
conditions in order to adequately determine the space of
a given large-scale void, and then to abandon it to life.
Without waiving the benefits of technology, embracing the
aesthetics of the here and now, simultaneously we refuse
to be overcome by lack of thought. We choose the possibility
to assess, be amazed, admit, concede. To recognise beauty
in current situations, in layered messages we can find
(even in more contemporary) heritage, to foster far-reaching
sensibilities with respect to the environment, other forms
of life, complex, unique natural resources or oases in cities,
landscapes, sights hidden from first sight, all those places,
zones within and without cities concealing messages which
are not that obvious or attractive, but extremely significant
nevertheless.
Among them, we create and find areas of freedom we set
apart, protect, pledge. Ergo – let us not build at all costs. At
all costs, we are sensitive, considerate, maybe even nostalgic.
We are methodical, modest, but we draw and express
ourselves in simple manners, we revive that what is rejected.
We think environmentally, we give chances.
Cities exist in loose and amazing networks of inter-relations,
images, codes, messages, in an inextricable link with the nature they originate from. We carry them in the deepest
recesses of our consciousness, they had shaped us before we
shaped them, the knowledge and messages they contain are
sometimes the strongest support to the spirit.
In the spirit, the thought wavers between rationality and
legends. Cities exquisitely possess both, and are often solidly
inwrought with that essence which people would like to elide,
that is, the very truth. The cities’ idiom is always spiritual,
emotional, always authentic and wise. We are committed to
cities. We love them. They get the best out of us. We may and
must merely reciprocate.
Science, statistics, assessments, plans – analyses, forecasts
and calculations of development and requirements, multidisciplinary
teams, binary acrobatics – are not enough for
cities, their cosmic whispers. They still need urbanists as
seekers, creators, visionaries, and listeners. Contemplants of
cities.
Architects as artists.
Per quanto riguardo l’architettura croata ed in particolare
le attività e le realtà urbane, compare anche una certa
rivolta, quasi amara, a causa di un’inondazione universale
di devastazione e di sopravvivenza delle sue “imprese”. La
causa della devastazione è difficile da formulare attraverso la
terminologia architettonica o storicista, dal momento che è principalmente incontrollata, e a volte difficile da affrontare,
ma questa può essere la ragione per cui siamo testimoni del
rumore bianco della società croata per quanto riguarda la
comunicazione e l’efficienza.
Architetti e urbanisti, nella loro ragionevole ambizione di
mantenere gli standard europei e mondiali nel loro lavoro,
e nel corso del loro permanente sforzo professionale, compreso
quello inerente il loro lavoro (i rapporti tra investitori/
autorità competenti/soci/fornitori) sono troppo concentrati su
un determinato compito che hanno desiderato o desiderano
prendere in considerazione. D’altra parte i politici, quando
non si tratta di interessi legati alla costruzione di un’immagine
pubblica, per lo più “non hanno tempo” per approfondire
questo problema seriamente. Nei casi contrari, improvvisi
cambi amministrativi e unioni volubili deludono tutte le reazioni
risolute. Allo stesso modo, i media e la propaganda del
turismo, che altro non sono se non chiacchiere che riflettono
sistematicamente l’inerzia sociale, ma anche la leggenda
ereditata di un paese con grandi bellezze naturali che apparentemente
“si sono evoluti quasi di loro spontanea volontà”,
nel loro uso quotidiano sostengono l’atteggiamento irrazionale
e disinformato rispetto alla situazione reale.
Questa situazione reale comprende anche che la costa croata,
un’area con mezzi di sussistenza e naturalità altamente
potenziali, tesori storico-urbanistici, architettonici e multiculturali,
è stata devastata gravemente e in modo preoccupante.
Non solo ci sono una miriade di esempi di devastazioni lungo
la zona litoranea, ma si può dire che le procedure corrette
siano più un’eccezione che una regola.
Ma la questione affascinante (e irritante) è il perché la Croazia
(professionisti, amministrazione generale, legislazione),
nel rispetto del suo patrimonio, della sua tradizione e persino
della sua posizione europea, abbia reagito ai problemi fisici
in maniera così lenta, inerte e debole, come se non si fosse
trattato di una questione di sopravvivenza e di un processo
irreversibile, e perché sembra che abbia concesso del tempo
a tutti i tipi di devastazioni.
In particolare, dobbiamo costantemente sottolineare la
frequente, cruciale, e sfortunatamente, problematica, pericolosa,
trascurata inadeguatezza di valutazione di tutto, specialmente dei luoghi più significativi. In Croazia, luoghi
strategici, edifici, aree, piani urbanistici sono sempre stati valutati
tramite concorsi con giurie inadeguatamente organizzate,
prive di esperienza, di riferimenti professionali, eppure
responsabili di ciò che presumibilmente valutavano. E’ stato
anche verosimile in Croazia assistere a decisioni prese arbitrariamente
con piena fiducia riguardo ai temi e luoghi più
delicati, “valutando” complessi studi fisici in punti strategici
urbani soltanto per accogliere individui non coinvolti professionalmente
con autorità locali ed investitori.
La devastazione si è anche riflessa a livello decisionale negli
arbitrati non professionali da parte delle autorità locali riguardo
alle priorità di progettazione, così come nella distruzione
risultante.
Uno dei problemi nella prassi urbanistica è certamente il
modo di organizzare l’educazione. Viviamo in un’epoca che
non mostra misericordia nell’ignoranza, nell’ inerzia, nella
scienza (quasi) autosufficiente.
L’unico modo per compiere adeguatamente la formazione
in urbanistica è di tenerla aggiornata con la pratica, per
renderla iniziatica, concentrata, viva. La conoscenza dell’urbanistica
dovrebbe quindi essere trasmessa principalmente
dagli individui che la praticano, che hanno una conoscenza di
essa, e che ne sono autori attivi e prolifici. Una delle priorità
fondamentali di questa società è quella di creare tale clima
educativo, invece di contestarlo sistematicamente. Questo è
l’unico modo per formare un clima altrettanto professionale
- urbanisti e architetti si sentono in diritto, a volte pure in
dovere, di reagire ai problemi, e di agire in modo critico, completo.
Questo è l’unico modo per avviare il necessario, lungo
e per niente facile compito di frenare le lungaggini burocratiche,
l’autosufficienza delle istituzioni, le gerarchie confuse
ed inefficienti nei processi decisionali rispetto alle priorità. In
caso contrario, che è purtroppo il caso attuale, si verificano
costellazioni sociali nelle quali la voce dei professionisti diventa
muta, inefficace, zoppa, inaccettabilmente rassegnata,
in una parola - irrilevante - lo stesso che capita nello spianare
la strada verso la creazione e la conoscenza. Per di più, in
un paese che è ancora troppo lontano da qualsiasi soddisfacente
“ordine” in questo senso. Al di là di ogni dubbio, la “zonizzazione”, ha avuto un ruolo
controverso nella pianificazione. Il termine “zonizzazione”
può essere spesso una cortina fumogena per l’ignoranza ed il
giudizio arbitrario. Ha portato più male che bene, soprattutto
nella pianificazione generalmente semplificata ed al tempo
stesso iper modellizzata.
Progettazioni architettoniche o procedure urbanistiche di
successo non hanno bisogno solo di aspirazioni teoriche o
scientifiche da parte di architetti, urbanisti e designer, ma la
creatività, il senso di spazio, la sensibilità artistica, l’esperienza
e la pratica professionale sono essenziali per ottenere
buoni risultati. Descrivendo il quadro di P. Klee “Architettura
Polifonica” nel suo libro “Design delle città”, E. Bacone così
si è espresso:
“L’acquerello di Paul Klee esprime l’interrelazione tra pianificazione
ed architettura. Ecco i rettangoli grigi che indicano
aree definite secondo le procedure di pianificazione abituali,
e l’architettura dà un bagliore che illumina il tutto. I ritmi architettonici,
che occupano solo una piccola parte della zona,
istituiscono un’armonia che riverbera attraverso tutti gli
spazi, dimostrando che non è necessario progettare in dettaglio
ogni metro quadrato di un’area per ottenere una grande
opera unificata... La precisa determinazione del punto di
congiunzione tra l’architettura consapevole e la città anonima
è una questione delicata e complessa, degna dell’attenzione
dei migliori progettisti.
Essa non può essere fatta da statistiche o dai computer. Si
tratta di un problema la cui essenza stessa è insita nella
natura della progettazione. Questo è il tipo di decisione che
di solito viene effettuato dallo statistico e dall’amministratore
prima dell’inizio della progettazione. Klee sottolinea duramente
che questa procedura stessa manchi di qualità vivificanti
e che, come procedura, annienterebbe i suoi obiettivi.”
Tutti i partecipanti alle procedure pianificatorie, nel realizzare
le città, cioè gli urbanisti / architetti, devono interrogarsi
circa la procedura artistica, la sua posizione relativa corrente,
siano essi autori o collaboratori. In caso contrario, le nostre
azioni saranno sbagliate, il nostro “pianificare” inutile, burocratico,
autosufficiente e, soprattutto, dannoso.
Raggiungere l’arte in urbanistica o, dopo tutto, in qualsiasi altro lavoro creativo, ovvero ogni deliberazione, vuol dire superare
una serie di inganni seducenti, incontrando le proprie
sincerità ed emozioni. Si tratta anche di impostare un dialogo
autonomo con le priorità basiche provate, formando un
sistema di pensiero e di preferenze che serve per esaminare
non solo lo sviluppo, ma, ancor di più, la mancanza di esso.
In questo caso consideriamo la mancanza di sviluppo come
una disciplina che porta a pensieri, atteggiamenti, impressioni,
e predisposizioni morali, autentici, obsoleti, non banali,
atteggiamenti non riconciliati con lo spazio, le circostanze,
le attività a portata di mano. Il sistema di vuoti – riconosciuti,
non sviluppati e sottosviluppati, come le aree protette nelle
città – simbolizzano un asse strutturale per le loro identità.
Sia che si tratti di un sistema di parchi, strade, piazze o di
aree verdi, corpi idrici, prati con boschetti, campi con specifiche
topografiche o patrimonio storico o culturale, o qualsiasi
altra cosa riconosciuta come valore, memoria o potenziale,
questo sezione “non -sviluppata“ è infatti l’essenza influenzante
gli spazi pubblici d’identificazione.
Questo codice, una sorta di arcipelago con isole di sviluppo
nel mare di spazi comuni non sviluppati, come aree verdi ed
ambientali, si manifesta in situazioni urbane e in modo particolarmente
chiaro in situazioni “iper-urbane”, ovvero sotto
evidenti aspirazioni pianificatorie all’interno di essi.
Gli schizzi che mostrano punti fi riferimento spaziali all’interno
della rete urbana sono sempre gli schemi delle aree quasi
livellate di “non-sviluppo creativo”, richiedendo competenze e
conoscenze, nonché l’adempimento delle condizioni complesse
al fine di determinare in modo adeguato lo spazio di
un dato vuoto su larga scala, e poi abbandonarlo alla vita.
Senza rinunciare ai benefici della tecnologia, che abbraccia
l’estetica del qui e ora, contemporaneamente ci rifiutiamo
di venire sopraffatti dalla mancanza di pensiero. Scegliamo
la possibilità di valutare, di essere stupiti, di ammettere, di
concedere. Per riconoscere la bellezza nelle situazioni attuali,
in messaggi stratificati possiamo trovare il patrimonio,
per promuovere la sensibilità di vasta portata nel rispetto per
l’ambiente, per altre forme di vita, complesse, uniche risorse
naturali o oasi in città, paesaggi, luoghi nascosti alla prima
vista, tutti quei luoghi, zone all’interno e fuori della città che nasconde i messaggi che non sono evidenti o interessanti, ma
ciò nondimeno estremamente significativi.
Tra di loro, creiamo e troviamo spazi di libertà che abbiamo
distinto, protetto, promesso. Quindi - non dobbiamo costruire a
tutti i costi. A tutti i costi dobbiamo essere sensibili, premurosi,
forse anche nostalgici. Siamo metodici, modesti, ma ci avviciniamo
e ci esprimiamo in modi semplici, facciamo rivivere ciò che
viene rifiutato. Pensiamo dal punto di vista dell’ambiente, diamo
possibilità.
Le città esistono in libere e sorprendenti reti di inter-relazioni,
immagini, codici, messaggi, in un legame indissolubile con la
natura da cui provengono. Noi li portiamo nei recessi più profondi
della nostra coscienza, ci hanno plasmato prima che noi li
sagomassimo, le conoscenze ed i messaggi che contengono a
volte sono il più forte sostegno per lo spirito.
Nello spirito, il pensiero oscilla tra razionalità e leggenda. Le
città possiedono squisitamente entrambi, e spesso sono solidamente
intrisi di quell’essenza che la gente vorrebbe elidere,
che è, la pura verità. Il linguaggio delle città è sempre spirituale,
emotivo, sempre autentico e saggio. Siamo impegnati con le
città. Le amiamo. Tirano fuori il meglio di noi. Noi possiamo e
dobbiamo solo ricambiare.
Scienza, statistiche, valutazioni, piani - analisi, previsioni e calcoli
di sviluppo e di requisiti, squadre multidisciplinari, acrobazie
binarie - non sono sufficienti per le città, per i loro sussurri
cosmici. Hanno ancora bisogno di urbanisti come di ricercatori,
creatori, visionari ed ascoltatori. Contemplatori di città.
Architetti e artisti.
Zana Radetic
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