Čovjek tek pomoću mosta uspostavlja prostor – obale, rijeku... govori stari, toliko puta citirani promi{ljatelj vremena i prostora...
Pa i ovako: arhitektura nije poput slikarstva, “... gdje svaki put kada započinjemo stojimo pred praznim platnom, što na slikara djeluje snagom svoje praznine, izazivajući ga da na njemu ponovo naslika sliku”, kako piše pjesnik Andrej Medved u svojoj studiji Pregelj, Stupica, Bernard, pitanje kontinuiteta slovenskog slikarstva.
Groblja su me uvijek fascinirala. Kada posjećujem gradove ili sela, obično idem i na njihova groblja.
Ali ne zbog nekrofilije. Za mene predstavljaju sastavni dio cjeline jednog grada.
Međutim, fasciniraju me,
razumljivo, i napušteni gradovi mrtvih, vojni, židovski...
Uz pojam groblje, izraz kulture mrtvih, čovjek najprije pomisli na kulturu živih, jer stojimo na mjestu gdje se u materijalnom preko
groblja izražava kultura života. Plečnik je na ljubljanskim Žalama, gradu mrtvih, postavio apoteozu urbanosti jednog grada, sagradio
je grad predvorja rastanka – kapelice s imenima zavjetovanih
iz ljubljanskih župa.
Groblje je tako|er arhitektura koja
je najuže povezana s našim kozmosom. U njoj se događa najneumoljivije. A također i najracionalnije. Idemo samo u jednom smjeru.
Ujedno, u tom krutom i jednostavnom činu ima također najviše iracionalnosti. I upravo su zbog toga na grobljima pojedine,
pa i intimne razlike vrlo
beznačajne. Na njima se na nevjerojatan način susreću i
dodiruju raznorodne duše.
Možda je zbog toga groblje – grad mrtvih – još jedino preostalo živuće svetište, svojevrsni tolerantan, neksenofobičan, neekskluzivni Panteon, znatno općenitiji nego
što su to pojedine crkve. Svetište
za sve!
(...)

Only with a bridge is one able
to establish a space: the banks, the river… these are the words
of the old and much quoted philosopher of space and time.
So are these: architecture is nothing like a painting ’which always starts with the blank canvas challenging the painter by the force of the blankness
to paint again on it his picture’, which are the words of the poet Andrej Medved in his study “Pregelj, Stupica, Bernard – the issue of continuity in Slovene painting”.
I have always been fascinated
by cemeteries. When I visit a town or a village I usually do not miss the cemetery. Not for necrophilic reasons. For me
they represent an integral part
of a town. But yes, I am also fascinated by these deserted towns of the dead, Jewish ones, military ones…
The cemetery as an expression of the culture of the dead immediately triggers deliberations about the culture
of the living, because it is a place where the material substance of the graves expresses the culture of life. Plečnik’s city of farewell
chapels carrying the names of the parishioners who had placed their vows at Žale Cemetery in Ljubljana constitutes an apotheosis of the city.
In addition, the cemetery is an architecture that has
established the closest contact with our universe. It encloses certainty. It soberly shows that we are all going in the same direction.
Yet this harsh and simple way
of saying so is also the most irrational. This is why differences, however intimate, become petty here. This is the meeting point of disparate
souls. Perhaps this city of the dead is the only sanctuary left
to the living; the single non-discriminatory Pantheon embracing far more than single Churches. A sanctuary for all!
(...)