Osnovna šola Pinka Tomažiča na Bonifiki v Kopru, zgrajena leta
1960, predstavlja konceptualno izjemo tako v opusu arhitekta Eda Mihevca kot tudi v zgodovini
gradnje šolskih objektov na Slovenskem. Trenutno je šola v
zelo slabem fizičnem stanju in je potrebna temeljite obnove. Ker stoji na tržno izredno atraktivni lokaciji
tik ob starem jedru Kopra in ker se prodaja, obstaja resna možnost, da jo bodo ob menjavi lastnika in programa porušili, kljub temu da jo arhitekti prištevamo med enega lepših primerov povojnega slovenskega modernizma in jo tudi uvrščamo v katalog Evidenca in valorizacija objektov slovenske moderne arhitekture med leti
1945-70. V času, ko je minilo trideset in več let od izgradnje slovenskega povojnega modernizma, le-ta postaja spet aktualen, saj predstavlja precejšen del naše narodne identitete, ki je danes ogrožena.
Hegel v svoji filozofiji zgodovine in umetnosti enakovredno obravnava umetnost vseh obdobij, saj vidi v različnih slogovnih oblikah le nujne stopnje v razvoju človekovega duha. Če parafraziram Georga Dehia, arhitekture ne varujemo le zato, ker bi se nam zdela lepa, temveč predvsem zato, ker je del naše narodne biti. Ko arhitekturo varujemo, s tem ne iščemo užitkov, temveč preizkušamo svojo pieteto.
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The ’Pinko Tomažič’ primary school built in Koper’s Bonifika neighbourhood in the 1960s represents a conceptual exception both inside the body of works by architect Edo Mihevc and in the history of the erection of school buildings in Slovenia. The school is
currently in very bad condition and it needs a thorough reconstruction. Its market-wise extremely attractive location, in the vicinity of the old core of
the city of Koper, and its
current offer for sale pose the threat of its destruction once
its owner and the programme change, despite the fact that architects consider it as one
of the better examples of post-war Slovenian Modernism and also catalogue it in the evidence and evaluation of Slovenian modern architecture 1945-1970. Now, thirty or more years since Slovenian post-war Modernism was established, the movement is regaining currency because
it largely stands for the currently threatened Slovenian national identity.
In his philosophy of history and art, Hegel treats arts from all periods equally, because what he saw in different styles was only the necessary stages of
the development of the human spirit. To paraphrase Goerg Dehi, we do not protect architecture only because it looks nice, but primarily because it makes up part of our national being. When we
protect architecture, we are not on a quest for pleasure, but we are testing our piety.
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