Gradski trg kao mesto istorije,
sećanja i identiteta
Urban Square as the Place
of History, Memory, Identity
PROF. DR BERTRAND LEVY
Univerzitet u Ženevi University of Geneva
prevela sa engleskog Translated from English by Marijana siMu
Tokom rada na prevodu konsultovan je tekst Bertranda Levya „Gradski trg u Evropi kao idealno mesto“ koji je
objavljen u publikaciji „Mesta Evrope“ (Biblioteka XX vek, 2010) u prevodu Olje Petronić i Snežane Spasojević.
idealan gradski trg
Javni trg je konstrukcija nasleđena
iz prošlosti, očuvana do danas kao
najvažniji element evropskog grada.
Gradski trg se može smatrati mestom u
onoj meri u kojoj predstavlja značajno
obeležje grada i u kojoj poseduje svojstva koja prema Marcu Augéu deinišu
mesto: 1) da je istorijsko, 2) da je prožeto
identitetom ljudi, 3) da je relaciono, 4)
da ima simbolički smisao.1
The ideal urban square
The public square is a construction inherited from the past that remains today as
the quintessential element of the European
town. The public square is a place, in so far
as it is a signiicant urban feature and to
the extent in which the four characteristics
of place, given by Marc Augé, are respected
as being: 1) historical, 2) imbued with human identity, 3) relational and 4) charged
with symbolic meaning.1
U kontekstu globalizacije, trg kao mesto
predstavlja određenu stalnost u prostoru,
nasuprot nemestima koja su nastala kao
rezultat nadmodernosti i rastuće pokretljivosti.2 Mesta oblikuju prostorni i
ljudski identitet. Urbano mesto ima eg-
In the context of globalization, the square
as a place represents a certain permanence
in space, as opposed to non-places produced by excessive modernity and growing mobility.2 Places structure space and
human identity. The urban place touches
1
Augé, Marc, Non-lieux, Seuil, Paris, 1992, str.100.
Balandier, Georges, Le Grand Système, Fayard, Paris, 2001, str.
62-76.
2
156
1
2
Augé, Marc, Non-lieux, Seuil, Paris, 1992, p.100.
Balandier, Georges, Le Grand Système, Fayard, Paris, 2001,
pp. 62-76.
zistencijalnu dimenziju, zbog čega je u
humanističkoj geograiji deinisano kao
pojava od centralnog značaja za ljudsko poimanje prostora, koje pojedincu
omogućava da kroz sećanje izgradi koherentan lični i društveni identitet. Za
razliku od ulica, koje otelovljuju tokove
izičkog kretanja kroz grad, trgovi predstavljaju periode odmora i pauze.
on existential factors, which is why it is
deined in humanistic geography as a central locus of human spatial awareness, enabling the individual to create – through
memory – a coherent personal and social
identity. Contrary to the streets, that embody lows of physical circulation through
the city, squares represent periods of rest
and of pause.
U savremenim gradovima trgovi postaju sve neophodniji jer mesta protoka
i ukrštanja postepeno preovladavaju
nad mestima odmora, koja su po svojoj suštini ujedno i mesta na kojima se
ljudi mogu zaustaviti i razmisliti o gradu,
svom ličnom identitetu i sudbini. Naravno, neko se može usprotiviti mišljenju
da su gradski trgovi jedina mesta koja
poseduju osobine mesta za odmor i da, na
primer, javni parkovi takođe ispunjavaju
ovu ulogu. Međutim, suštinska razlika
između javnog parka i javnog trga je ta
što na trgu građanin nije u dodiru sa prirodom već sa samom suštinom gradske
kulture, istorije i sećanja.
In contemporary cities, squares become
increasingly necessary as gradually places
of low and crossing points tend to surpass
the places of rest, which are also fundamentally places where mankind can stop
and think about the city and its personal
identity and destiny. One could of course
counteract that urban squares are not the
only places to present the characteristics
of rest and that public parks, for example,
also fulill that role; however the essential
diference between a public park and a
public square is that on a square, the citizen is not connected to manifestations of
nature but to the heart of urban culture,
history and memory.
Guido Ceronetti u svom, gotovo
ikonoklastičnom „Putovanju u Italiju“
(1996), piše da ste dok sedite na gradskom trgu pupčanom vrpcom vezani
za grad i za njegov suštinski identitet
i istoriju. Ovo je razlog zbog koga gradski trgovi predstavljaju veoma osetljivo pitanje: čak i najmanja promena
ili transformacija trga doživljava se
kao simbolična promena koja utiče na
odnos civitas - urbs (zajednica građana
- izgrađeni grad).
Guido Ceronetti (1996), in his rather iconoclast A Travel in Italy, writes that when
sitting in an urban square, one is bound
to the umbilical cord of the city and to its
deepest identity and history. This is the
reason for which urban squares represent
a very sensitive issue: even a small modiication or transformation made in a square
is felt as a symbolic change afecting the
type of relations between the civitas (the
community of citizens) and the urbs (the
built town).
Austrijski urbanista Camillo Sitte istraživao je strukturalne promene gradova
Austrian urban planner Camillo Sitte explored the structural changes of cities
157
u drugoj polovini XIX veka.3 Sitte je dokazao da je radijalno-kružni grad, koji
je nastao tokom Ring perioda4 i koji je
poslužio kao model urbanističkog planiranja u Evropi u drugoj polovini XIX
veka (Hausmannov Pariz, Eixample u
Barseloni, Fazyeva Ženeva...), u suprotnosti
sa “gemütlichkheitom”5 srednjovekovnog
grada i urbanizma zasnovanog na odbrani.
Sitteova studija iz 1899. prati veliku urbanu transfomaciju bečkog Ringa – prostora isprekidanog prostranim šetalištima
i ukrašenog vrtovima. Po njemu, Ring se
sastoji od otvorenih prostora koji se razlikuju od uskih ulica i intimnog karaktera
srednjovekovnih gradova.
Zasigurno, savremena arhitektura i urbanizam su se umnogome promenili u
odnosu na srednji vek i renesansu. Sitte
ne odgovara na sva pitanja koja mi danas
postavljamo, ali njegov rad razjašnjava šta
je sve neophodno za stvaranje kvalitetnih
urbanih okruženja, od kojih najbolja opstaju kao najcenjenije ikada sagrađene
urbane forme.
Kriterijumi za idealan trg po Sitteu
Ustanovivši da je trg mesto geografske
konvergencije i istorijskog sećanja, ne
možemo da se ne složimo sa tvrdnjom
Jacquesa Dewittea6 da je glavna funkcija trga da simbolizuje arhetip susretanja ljudi i podstakne razmišljanje o
3
Sitte, Camillo, City Planning According to Artistic Principles, 1965.
Period urbanističkog razvoja Beča (sredina XIX veka) tokom kog
je značajno razvijena urbana infrastruktura, a umesto gradskih
zidina izgrađena ulica Ringstrasse, po kojoj je period i dobio naziv: http://www.wien.gv.at/english/history/overview/ringstrasse.
html, (stranici pristupljeno u novembru 2011.) (prim. prev.)
in the second part of 19th century.3 Sitte
demonstrated that the radial and circulatory city, born during the Ring period and
used as a model for all city planning in
Europe in the latter half of the 19th century
(Hausmann’s Paris, Barcelona’s Eixample,
Fazy’s Geneva…), is opposed in his mind
to the “Gemütlichkheit”4 of the medieval
town and its protective urbanism. Sitte’s
study (1899), traces the great urban transformation of Vienna’s Ring – an environment punctuated by vast esplanades and
decorated with gardens. In his view, the
Ring is made up of open spaces that distinguish themselves from the narrow streets
and intimate character of cities in the
Middle Ages.
Certainly, contemporary architecture and
urbanism have changed a lot since the
Middle Ages and the Renaissance. Sitte
does not answer all the questions we pose
today, but his work clariies what goes into
the making of successful urban environments, the best of which survive as the
most admirable urban forms ever built.
The ideal criteria of the urban square
according to Camillo Sitte
Having established that the square is a
place of geographic convergence and historic memory, one can but agree with
Jacques Dewitte5 that its foremost function is to symbolize the archetype of human encounters and encourage urban contemplation. Camillo Sitte’s work addresses
4
5
Pristupačnost, udobnost (prim. aut.)
Dewitte, Jacques, “ Eloge de la place. Camillo Sitte ou
l’agoraphilie ”, La ville inquiète, Le temps de la rélexion, VIII,
Gallimard, Paris, 1987, str. 150-177.
6
158
3
Sitte, Camillo, City Planning According to Artistic Principles, 1965.
4
5
Approachability/cozyness.
Dewitte, Jacques, “ Eloge de la place. Camillo Sitte ou
l’agoraphilie ”, La ville inquiète, Le temps de la rélexion, VIII,
Gallimard, Paris, 1987, pp. 150-177.
gradu. Sitteov rad bavi se morfologijom
i estetikom trga pre nego njegovom
funkcionalnošću ili upotrebom. Sitteovi
morfološko-estetski kriterijumi za idealan gradski trg su sledeći:7
– zatvoren i zaštićen prostor;
– slobodan centar (da bi se omogućio
pogled ka i od);
– spomenici smešteni po ivicama;
– element iznenađenja (uske, vijugave ulice);
– arhitektonski privlačne fasade
("Handwerk");
– konkavnost i dekorativno
popločavanje.
Kriterijumi funkcionalnosti koji su u skladu
sa savremenim funkcijama i zahtevima za
udobnošću mogu biti dodati pomenutim
topografsko-estetskim kriterijumima.
Kriterijumi funkcionalnosti gradskog
trga su:
– zatvorenost za saobraćaj/dostupnost
pešacima;
– obnavljanje/vraćanje u upotrebu
starih zgrada;
– postojanje više različitih pejzažno
uređenih celina za odmor/sedenje;
– blizina trgovinskim/komercijalnim
sadržajima (ulicama kojima prolazi
veliki broj pešaka);
– postojanje različitih sadržaja zabavnog
karaktera (muzika, ples, pozorište…).
Jean-Bernard Racine smatra da gradski trg
treba da ostane „kolektivno vlasništvo“,
7
Levi, Bertran, “ Gradski trg u Evropi kao idealno mesto ”, in Stela
Ghervas, Fransoa Rose (ur.), Mesta Evrope, Urednik Ivan Čolović,
Biblioteka XX vek, s francuskog prevele Olja Petronić i Snežana
Spasojević, Beograd, 2010, str. 88-115.
the morphology and aesthetics of the
square rather than its functionality or use.
Sitte’s ideal criteria may be summarized as
follows:6
Ideal morphological-aesthetical criteria of
the urban square:
– closed and protected space;
– the center should be free (to enable
sight-lines to and from);
– monuments are placed on the
perimeter;
– the element of surprise (narrow,
crooked streets);
– attractiveness of architectural façades
(“Handwerk”);
– concavity and aesthetic paving.
Other criteria to do with present-day functions and amenities may be added to these
ideal topographical-aesthetic criteria:
Functional criteria of the town square
– closed to traic/pedestrian accessibility;
– restoration/rehabilitation of ancient
buildings;
– provision of various kinds of landscaped
seating;
– close to commercial activities
(pedestrian lows);
– diverse animation (music,
dance, theatre…).
Jean-Bernard Racine considers that the urban square should remain as a “collective
property”; a space of shared citizenship that
is inhospitable to commercial demands and
6
Levi, Bertran, “ Gradski trg u Evropi kao idealno mesto ”, in
Stela Ghervas, Fransoa Rose (eds.), Mesta Evrope, Urednik Ivan
Čolović, Biblioteka XX vek, translated from French by Olja
Petronić and Snežana Spasojević, Belgrade, 2010, pp. 88-115.
159
prostor zajedničkog pripadanja istom
gradu, negostoljubiv prema komercijalnim zahtevima i trgovini.8 Gradski trg
je prostor ko- (komune, komunikacije,
komunia,9 kontinuiteta) pre nego prostor
dis- (diskriminacije, dispariteta, diskontinuiteta). Koreni Sitteovog dela potiču iz
ozbiljnog bavljenja samom idejom zajednice.10 Sitte je predvideo da će kružni
tokovi narušiti prirodu gradskog trga,
pretvarajući ih u raskrsnice, saobraćajne
čvorove ili prostrana šetališta predviđena
za masovne demonstracije ili velike socio-kulturne događaje. Danas su trgovi s
kraja XIX i iz XX veka postali raskrsnice i
ponovno uređenje takvih mesta je u srži
urbane regeneracije i sećanja. Međutim,
obe vrste gradskih trgova, oni koji zadovoljavaju idealne morfološko-estetske
kriterijume prema Sitteu i oni koji ih ne
zadovoljavaju, odražavaju pitanje kako
uključiti istoriju, sećanje i identitet u već
izgrađen trg.
Elementi istorije, sećanja i identiteta
na jednom gradskom trgu
Potrebno je napraviti razliku između istorijskih gradskih trgova prepunih simbola
gradske istorije i sećanja – „nedodirljivih“,
kako se mogu deinisati – i onih koji su
nepotpuni, nastali na raskrsnicama ili
među blokovima zgrada, onih koji bi
mogli postati savršeni prema Sitteovim
kriterijumima ili prema kriterijumima
savremenih javnih politika.
8
Racine, Jean-Bernard, “Villes idéales et rêves de villes: de
Tombouctou à Jérusalem, regards croisés sur quelques villes
vécues en vrai ou en imaginaire ”, u: Lévy, B., Rafestin, C. (ur.),
Ma ville idéale, Metropolis, Genève, 1999, str. 187-240.
komunio - zajednica, naročito crkvena, verska; pričest; vreme kad
se pričešćuje (u katoličkoj crkvi); zajedničko učešće. (prim. prev.)
9
10
Dewitte, Jacques, “ Eloge de la place. Camillo Sitte ou
l’agoraphilie ”, La ville inquiète, Le temps de la rélexion, VIII,
Gallimard, Paris, 1987, str. 150-177.
160
speculation.7 The urban square is a space
of co-(community, communication, communion, continuity) rather than of dis(discrimination, disparity, discontinuity).
Indeed, the roots of Sitte’s work stem from
a deep concern for the very idea of community.8 Sitte anticipated that circulatory lows
invade and kill the nature of urban square
when they become crossroads, urban hubs
or vast esplanades conceived for mass demonstrations or mass socio-cultural events.
Nowadays, squares from the late 19th and
20th century have become crossroads and redesigning such piazzas is at heart of urban
regeneration and memory. However, both
types of urban squares, those that respect
the ideal morpho-esthetic criteria of Sitte
and those that do not, are concerned by the
problematic of how to incorporate elements
of history, memory and identity into an already built-up urban square.
History, memory and identity elements
on an urban square
A distinction should be made between historical urban squares, saturated with the
symbols of urban history and memory –
“the intouchables” as one might be inclined
to deine them – and between incomplete
urban squares, born out of crossroads or
bloc systems, which are perfectible following Sitte’s criteria or those of contemporary
public policies.
What types of elements deine an ancient
urban square? To begin with, the elements
7
Racine, Jean-Bernard, “Villes idéales et rêves de villes: de
Tombouctou à Jérusalem, regards croisés sur quelques villes
vécues en vrai ou en imaginaire ”, in Lévy, B., Rafestin, C.
(eds.), Ma ville idéale, Metropolis, Genève, 1999, pp. 187-240.
8
Dewitte, Jacques, “ Eloge de la place. Camillo Sitte ou
l’agoraphilie ”, La ville inquiète, Le temps de la rélexion, VIII,
Gallimard, Paris, 1987, pp. 150-177.
Koji elementi deinišu stari gradski trg? Za
početak, namena elemenata je da formiraju celinu, da daju jedinstven karakter javnom trgu, kao neka vrsta zaštitnog znaka
koji ova mesta čini originalnim i jedinstvenim. To se može postići postavljanjem
spomenika (crkva, zvonik, statua, fontana...)
po obodu trga tako da se stvara asimetrija. Takvi su primeri Mikelanđelova skulptura „David“ na trgu Piazza della Signoria
u Firenci i zvonik na Trgu svetog Marka u
Veneciji, kao i mnoge crkve koje su utkane
među građevine koje oivičavaju trgove u
ovim gradovima. Pažnja se može usmeriti
i na karakteristike fasada po obodu trga.
Na primer, ako posmatramo trg Piazza del
Campo u Sijeni, odsustvo balkona odražava
strogu ujednačenost dok zakrivljene linije
pojedinih zgrada odražavaju prilagođavanje
prirodno kružnom obliku mesta. Kružni
oblik odražava kolektivnu volju i identitet,
simbolizuje duh zajedništva i saglasja u
gradu koji je kroz istoriju bio pritiskan ratovima. Sličnu ulogu ima i Palio, konjička trka
koja se održava dva puta godišnje i u kojoj
se stanovnici grada, podeljeni u kontrade11
prema kvartovima u kojima žive, utrkuju
u krug oko trga simbolizujući nadmetanje i različitost delova grada. Oblik kruga je
korišćen da izrazi jedinstvo, okupljanje i
susretanje. Podela trga Piazza del Campo
na devet delova (koji simbolizuju Vladu
devetorice) i njihovo susretanje ispod tornja Torre del Mangia - glavna arhitektonska
odrednica koja dominira trgom - takođe
simbolizuje želju za jedinstvom različitih
političkih snaga u gradu.
Ono što je važno kada su u pitanju gradski
trgovi duboko ukorenjeni u istoriju, jeste
11
contrada (ital.) - deo grada, kvart (prim. prev.)
are designed to form a whole, to give a
personality to the public square, a sort of
“brand” that makes these places original
and inimitable. Monuments (a church, a
campanile, a statue, a fountain...) situated
on the perimeter may be evoked, so that
an asymmetry is created. Such is the case
for Michelangelo’s David in Piazza della
Signoria in Florence or of Piazza San Marco’s campanile in Venice. Many churches
are integrated into the fabric of buildings
hemming the square. We can also focus in
on characteristics of the facades along the
square. For instance, if we consider Piazza
del Campo in Siena, the absence of balconies
relects a strictly egalitarian will while the
curvature of certain buildings, an adaptation of the site’s natural circular formation.
This circularity relects a collective will and
identity; it symbolizes the spirit of union
and of concord in a city historically beset by
turf wars. Such is also the role of the Palio, a
bi-yearly horse race in which the city’s different “contrade” (neighborhood factions),
race in circles around the square, in order
to symbolize the competition and diversity
of the diferent neighborhoods. The igure of
the circle is used to express unity, gathering and encounter. The division of Siena’s
Piazza del Campo into nine parts (symbolizing the Government of the Nine) and their
linear convergence in front of the Torre del
Mangia (the main architectural feature that
dominates over the square), also symbolizes
a desire for the political unity of the diferent forces of the city.
With these urban squares deeply steeped in
history, what is important is the preservation of the message printed in the past, not
the adding of new elements. Nowadays,
the struggle of these squares is mainly di161
Slika 1 :: trg piazza del campo u sijeni predstavlja idealnu formu gradskog trga koja prema sitteu podrazumeva otvoren, konkavan i kružan prostor u zgusnutom
gradskom pejzažu. (fotograija: Bertrand l evy)
Picture 1 :: The Campo of Siena represents an ideal form of urban square as described by C. Sitte: an open space in a dense urban landscape, concave and
rounded. (photo by Bertrand Levy)
očuvanje poruke utisnute u prošlosti, a ne
dodavanje novih elemenata. U današnje
vreme, bitka za ove trgove je pretežno usmerena na očuvanje njihovih istorijskih
elemenata, protiv vandalizma i interesnih
grupa koje pokušavaju da iskoriste mesto
za komercijalne namene. Ovi trgovi su
takođe pod pritiskom različitih grupa koje
povremeno nastoje da organizuju kulturne
događaje, svečanosti, predstave i komercijalne sadržaje različitog tipa (slika 1).
Neki primeri u Ženevi
Problematika je dosta drugačija kada su
u pitanju „nesavršeni trgovi“. Oni zahtevaju delimičnu ili potpunu rekonstrukciju koja često otvara pitanje načina
raspoređivanja elemenata koji nose
umetničku i nostalgičnu vrednost.
162
rected towards the conservation of their
historical elements against vandalism
and private groups who may seek to use
the site for commercial purposes. These
squares are also under the pressure of different groups who may wish to organize
occasional cultural, festive or commercial
events (picture 1).
Some examples in Geneva
The problematic is quite diferent for the
“imperfect squares”. These squares require
sporadic or deinitive redesigning from
which the question of placing elements of
artistic and nostalgic value is oten raised.
Let us take some examples from Geneva:
Place Neuve is a traditional cultural agora
stemming from the end of 19th century
that gathers some ediices of prestige such
Pozabavimo se primerima u Ženevi: trg
Place Neuve predstavlja tradicionalnu
kulturnu agoru još od kraja XIX veka na
kojoj se nalaze prestižna zdanja kao što
su zgrada Opere (Le Grand Théâtre), Muzej Rath, Muzički konzervatorijum, kao
i univerzitetski park Les Bastions. Centralni prostor trga zauzima statua generala Henri Dufoura, inženjera, urbaniste,
kartografa i političara iz XIX veka, koji
je pomogao izgradnju susedne ulice Corraterie, i koji je doprineo uspostavljanju
mira u Švajcarskoj tokom građanskog
rata između katoličkih i protestantskih
kantona 1847. (Sonderbundški rat).
Place Neuve ne odgovara Sitteovim kriterijumima idealnog gradskog trga – suviše
je prostran i otvoren – i vremenom je postao raskrsnica zagušena saobraćajem.
Godine 1997. pokrenut je projekat sa ciljem da se na trgu onemogući saobraćaj privatnim vozilima kako bi se cela površina
trga i okolne ulice koje čine Bankarski
kvart (Quartier des Banques) pretvorile u
pešačku zonu. Građani Ženeve su na referendumu odbacili ovaj projekat. Značajno
je primetiti kako je javni trg postao predmet neslaganja među građanima: u delovima grada koji su naseljeni imućnijim
slojem projekat je prihvaćen, dok je u
onima naseljenim pripadnicima radničke
klase odbačen. Razlog za ovo se može
pronaći u različitoj društvenoj upotrebi trga od strane dve grupe: ljudi iz manje bogatih kvartova Ženeve koriste trg i
okolne ulice kao besplatan parking prostor prilikom večernjih izlazaka i ne žele
da u budućnosti plaćaju visoke troškove
korišćenja privatnih podzemnih parkinga.
Osim toga, ovi ljudi ne posećuju trg često
kako bi uživali u neoklasicističkim zda-
as Le Grand Théâtre (the Opera House), the
Rath Museum, the Conservatory of music,
and the University Park (les Bastions). At
the center of the space stands the statue
of général Henri Dufour, an engineer, urban
planner, cartographer and politician of the
19th century who helped build the adjacent
street, la rue de la Corraterie and who paciied Switzerland during the Sonderbund
War – the civil Swiss war opposing the
catholic and protestant cantons in 1847.
Place Neuve does not respond to Sitte’s ideal criteria – it is too vast and too open – and
has become over time a crossroad, jammed
with private and public traic. In 1997, an
urban project was established with the
aim of suppressing private traic in order
to create a pedestrian zone throughout the
square and the adjacent streets that make
up the Quartier des Banques. The people
of Geneva rejected the project by popular
referendum. It is remarkable to observe
how this public square became an object
of discord among the population: the bourgeois neighborhoods of the city accepted
the new project whereas the working class
ones rejected it. The reason for this can
be seen in the diferent social uses of the
square amongst the two factions: people
from the non-aluent parts of Geneva,
use the square and its adjacent streets for
free parking when going out in town in
the evening and did not want in future to
have to pay high rates for private underground parking. In addition to this, these
people did not customarily visit the square
in order to make use of its prestigious neoclassical ediices of culture. Conversely, the
privileged inhabitants of the area were content to use the underground parking zones,
as were the aluent when going out to the
163
njima na trgu i kulturnim sadržajima koje
ona nude. Nasuprot tome, imućni stanovnici dela grada oko trga bili su spremni
da koriste podzemne parkinge, kao što
su i češće posećivali Operu ili koncertnu
dvoranu. Uprkos delimičnom pretvaranju
prostora trga u pešačku zonu, ekološki
pokret je uglavnom bio protiv projekta
jer je on podrazumevao izgradnju novih
parking zona u istorijskom jezgru grada,
intenzivirajući na taj način saobraćaj i
povećavajući broj vozila.
Ovde smo suočeni s pitanjem korišćenja
zemljišta na trgu od strane građana, nasuprot pitanju samog sećanja. Sa stanovišta
sećanja, trg odražava slavnu stranu istorije
Ženeve. Na primer, ispod jednog od zidova
starog grada podignuta je bista Henria Dunanta, jednog od osnivača Crvenog krsta
1863. Činjenica koja je pri tome potpuno
ignorisana i izbrisana je da je na istom tom
mestu dželat Republike Ženeve odrubljivao
glave zatvorenicima starog režima. Izazov
za gradske trgove nastaje onda kada na njima treba da se prikažu i negativne strane
grada ili nacionalne istorije. Place Neuve je
takođe mesto masovnih demonstracija. Godine 2010. kada je narod Švajcarske odbacio zahtev za izgradnjom novih minareta u
državi, grupa mladih ljudi je demonstrirala
sagradivši simboličan minaret blizu spomenika generalu Dufouru i plešući oko njega u
znak protesta protiv rezultata referenduma
koji je u Ženevskom kantonu bio pozitivan.
Nedavno je na trgu privremeno bio izložen
provokativan umetnički rad, džinovski pauk
vajarke Louise Bourgeois (1922-2010). Rad
je često pogrešno tumačen, a zapravo je
zamišljen da simbolizuje majku umetnice –
i kao takav pre je izraz ličnog, a ne kolektivnog sećanja. Pauk može biti posmatran kao
164
opera or to the concert hall. The ecological
party, despite a partial pedestrianization
of the area, was mostly against the project
because it involved building new parking
zones in the historic city, hence attracting
increased lows of cars.
We are here faced with a question of land
use of the square, as opposed to one of sheer
memory. From a commemorative point of
view, the square relects the glorious side
of Geneva history, not the negative one. For
instance, under one of the old town’s walls,
another classical statue was erected: the
bust of Henri Dunant, one of the founders
of the Red Cross in 1863. What is ignored
or erased is that on that very same spot,
the executioner of the Republic of Geneva
used to decapitate prisoners of the old regime. Prestigious urban squares are not at
ease when a request is made to expose the
negative face of the city or of the nation’s
history. Place Neuve is also used as a site
for popular demonstrations. In 2010, when
Swiss people rejected the construction of
new minarets in the country, a group of
young demonstrators built a symbolic minaret close to the statue of General Dufour
and danced around it, in protest against
the results of the referendum – which had
been positive in the canton of Geneva. Recently another provocative artistic work
was temporarily displayed: the giant spider
by the contemporary sculptor Louise Bourgeois (1911–2010), an oten misinterpreted symbol that is meant to represent her
mother – so as a result, a piece of individual rather than of collective memory. A spider may be viewed as an invading predator,
but one that is supposed to relect qualities
of the mother: the indispensability, tenacity, patience.
grabljivac, ali i onaj koji odražava kvalitete
majke: neophodnost, istrajnost, strpljenje.
Par koraka od trga Place Neuve nalazi
se kružni tok Plainpalais kome je najpre
1990-tih, a potom i početkom 2000-tih
promenjen izgled. Cilj je bio da se smanji intenzitet saobraćaja privatnih vozila kako bi se povećao prostor namenjen
budućoj tramvajskoj liniji što bi kao rezultat učinilo trg prilagođenijim za pešake.
Trg se nalazi veoma blizu Fakulteta za
književnost Univerziteta u Ženevi. Na
trgu je podignut visoki stub kako bi usmeravao pešake ka centralnom šetalištu uz
obalu, za prolaznike su postavljene klupe,
a za trg su posebno izrađene i tri bronzane statue od kojih se za svaku može reći
da podseća na slučajnog prolaznika.
Jedna od statua predstavlja pisca Michela Butora kako stoji sa prtljagom. Butor
je dosta putovao a predavao je francusku
književnost na obližnjem fakultetu. Stoga
se ova skulptura može posmatrati kao izraz individualnog i kolektivnog sećanja koje
pripada delu grada u kome se nalazi. Statue
su napravljene u prirodnoj veličini i postavljene su u nivou očiju. Ovaj trend je počeo da
se razvija u Zapadnoj Evropi od kraja 1980tih sa ponovnim otkrićem ljudske igure
koja spoznaje grad na fenomenološki način,
što je, kao rezultat, dovelo do prevazilaženja
monumentalizma XIX veka.
Georges Haldas, jedan od najvećih
ženevskih pisaca, rođen je nekoliko koraka dalje od kružnog toka Plainpalais.
Nadajmo se da će jednoga dana neka
urbana znamenitost podsećati i na njega. Knjižara na istom trgu nosi njegovo ime, ali je pre dve godine zatvore-
A few steps away from Geneva’s Place
Neuve, the Rond-Point de Plainpalais
(Plainpalais Roundabout) was redesigned
in the 1990s and then again in the 2000s.
The purpose was to diminish private trafic in order to increase the ground surface
that was to be devoted to a future tramway
and, in so doing, make the square more
pedestrian-friendly. The square is very
close to the Faculty of Letters of the University of Geneva. A contemporary column
was erected to set pedestrians on the central boardwalk; benches were installed for
passersby and three bronze statues were
designed especially for the square, each of
which could be said to resemble the common man on the street.
One of the statues represents the writer
Michel Butor, standing with luggage. Butor
was a great traveler and he used to teach
French literature in the nearby university.
Therefore, Butor’s statue can be viewed as
a piece of individual and collective memory
belonging to the neighborhood. The statues
are on a scale of 1/1 and are placed at eye
level. This is a trend that was developed
in Western Europe from end of the 1980s
with the re-discovery of the human body
perceiving the city in a phenomenological
way. As a result, it overcame the monumentalism of the 19th century.
Hopefully one day Georges Haldas (19172010), one of Geneva’s major authors who
was born a few steps away from the RondPoint, will also be relected in an urban
landmark. A bookshop located on the same
square carries his name but it closed its
doors two years ago, victim of the crisis
of the independent bookstore. The works
of Georges Haldas are published by L’Age
165
na usled posledica krize u nezavisnom
knjižarstvu. Haldasove radove objavila
je najveća izdavačka kuća u francuskom
delu Švajcarske, L’Age d’Homme iz Lozane, čiji je osnivač Vladimir Dimitrijević
(1943-2011), izdavač srpskog porekla koji je sebe deinisao kao prolaznika
između Istočne i Zapadne Evrope. Tako je
komadić sećanja preostao na ovom trgu
s pravom posvećen književnosti. Mora se
istaći da pomenuti objekti nisu prožeti
političkim značenjima.
Trg nacija (Place des Nations), moderan
trg projektovan prema smernicama Le
Corbusiera, koji se nalazi uz zdanje Palate nacija (Palais des Nations), razlikuje
se po obimu intervencija od kružnog toka
Plainpalais i trga Place Neuve. Sa arhitektonskog stanovišta, trg nikad nije dovršen,
što je dovelo do diskontinuiteta njegovog
prednjeg pročelja. Zapušteni travnjak koji
je podsećao na ogoljeno parče tla zauzimao je centralni deo trga. Ovo je čest
slučaj na trgovima kružne osnove koji su
pretvoreni u saobraćajne raskrsnice.
Koncept idealnog trga pretpostavlja
oslobađanje prostora unutar već izgrađene
strukture grada, nasuprot trgu koji je
smešten a posteriori u slobodan prostor. Trg nacija je projektovan po uzoru
na američki sistem blokova (u suštini,
koncept urbanističkog planiranja po
kome je zemljište isparcelisano na pravougaone površine za gradnju ili druge namene), po kom trg zauzima mesto
jednog (nedostajućeg) bloka. Ovakav tip
trga ne poseduje osobinu zatvorenosti i
zaštićenosti, jednu od karakteristika idealnog trga, i zbog toga prouzrokuje dosta
problema u urbanističkom planiranju.
166
d’Homme in Lausanne, a major publishing
house in the French part of Switzerland,
founded and developed by Vladimir Dimitrijevich (1943–2011), a publisher of Serbian origin who deined himself as a passer
between Eastern and Western Europe. The
tiny memory remaining on this square is
thus rightly devoted to literature. It has to
be noticed that these installations have not
been imbued with a political meaning.
Place des Nations, a modern square designed according to the guidelines of Le Corbusier and bound to the ediice of The Palais
des Nations, is not afected in the same way
as the Rond-Point and Place Neuve. From an
architectural point of view, the square was
never completed, leading to a discontinuity of its front frame. A derelict lawn that
resembles a piece of wasteland occupied
the centre of the square. This is oten the
case on roundabout squares that have been
transformed into traic crossroads.
The ideal square suggests a freeing of space
into the full structure of a town as opposed
to a square that is settled a posteriori into a
free space. Place des Nations is based on an
American-style block system (a concept in
urban planning which implies dividing of
land into square-shaped lots for building or
other purposes) in which the square occupies the space of a missing block. This kind
of square does not possess the closed and
protected nature of the ideal urban square
and it engenders a lot of urban planning
problems. Indeed, deprived of a contiguous
urban fabric, this type of square resembles
an unstructured space or quite simply a
traic junction. If urbanization is denser
and the square located on a traic node
arranged on several levels (such as Pots-
Zaista, lišen urbanog tkiva u svom neposrednom okruženju, ovakav trg podseća na
nestrukturisani prostor ili jednostavno
na saobraćajno čvorište. U slučaju zgusnute urbanizacije i trga smeštenog na
saobraćajnom čvoru organizovanom na
više nivoa (kakav je npr. Potsdamer Platz
u Berlinu ili mnogi savremeni „stanični
trgovi“ u svetu), njihovo preuređenje i
razvoj bivaju otežani ograničenjima koje
nameće saobraćaj.12
damer Platz in Berlin or numerous modern
station squares), their redevelopment is
complicated by traic constraints.9
Jedno od takvih ograničenja na Trgu nacija ogleda se u uvođenju nove tramvajske
linije koja ide preko trga, uz istovremeno
zadržavanje mogućnosti pristupa trgu
i privatnim vozilima. U ovakvoj situaciji glavne izazove predstavljalo je jačanje
saobraćajnog čvora stavljanjem akcenta na
javni prevoz i stvaranje estetski privlačnog
i korisnicima prilagođenog prostora na izdignutom centralnom pločniku trga. Opšti
društveno-politički značaj Trga nacija,
prostora koji ostaje otvoren za demonstracije manjeg ili većeg obima, podcenjen
je urbanističkim projektom koji je pobedio
na konkursu gradske uprave. Ovaj projekat,
delo rimskog arhitekte Massimiliana Fuksasa, osporen je na javnom referendumu
održanom 1998. Nakon neuspešne kampanje za projekat, građani Ženeve su ga
odbacili sa 52.4% glasova protiv. Naime,
prezentacija projekta na zvaničnoj referendumskoj brošuri, koja je podeljena stanovnicima grada Ženeve, sastojala se od krajnje složenog dvodimenzionalnog prikaza
koji nije uključio urbani pejzaž u okruženju
budućeg trga. Kod ljudi je ovakav poduhvat
faraonskih razmera izazvao nepoverenje
The traic constraints of Place des Nations
consisted in bringing a new planned tramway into the square while maintaining
accessibility for private traic. The major
challenges were as follows: strengthening
the traic node by focusing on public transportation and creating an aesthetic and
user-friendly space on the raised central
pavement of the square. The general sociopolitical context of the square, a space that
remains open to small or mass demonstrations, was underestimated by the urban
project that won the competition launched
by the city authorities. This project, designed by the Roman architect Massimiliano Fuksas, was attacked by a popular referendum that took place in 1998. The people
of Geneva rejected the project by 52,4 %,
ater a failed campaign of graphic communication. The project designed on the oicial electoral booklet that had been sent to
the city’s citizens, was an extremely complex two-dimensional design that lacked a
landscape coniguration of the future plaza.
The people’s reaction to this Pharaonic undertaking was one of mistrust towards the
authorities. The let-wing parties supported this campaign because, in their view by
installing successive basins on the square,
Fuksas’ project would help to prevent large
gatherings. Ten years later, a compromise
led to a regenerated Place des Nations, in
which the architect’s idea of animating
fountains was used but not his irreversible
and anti-populist hard design.
12
Nielebock, Henry, Berlin und seine Plätze, J. Strauss Verlag,
Potsdam, 1996.
9
Nielebock, Henry, Berlin und seine Plätze, J. Strauss Verlag,
Potsdam, 1996.
167
Slika 2 :: trg nacija (place des nations) u Ženevi je bio prazno šetalište na kom su postavljene reverzibilne fontane, dok je u centru postavljena skulptura „slomljena
stolica“ ispred glavnog ulaza u zgradu ujedinjenih nacija. (fotograija: Bertrand levy)
Picture 2 :: Place des Nations, Geneva, was an empty esplanade where reversible fountains have been installed. In the center, the Broken Chair that faces
the main building of the United Nations. (photo by Bertrand Levy)
prema vlastima. Stranke levice su podržale
kampanju jer je po njihovom viđenju postavljanje više uzastopnih udubljenja ispunjenih vodom na trgu moglo da spreči
masovna okupljanja. Deset godina kasnije
postignuto je kompromisno rešenje koje je
dovelo do obnavljanja Trga nacija, u okviru
kog je primenjena ideja arhitekte o postavljanju fontana koje oživljavaju prostor, ali
ne i njegov projekat u celosti jer je bio antipopulistički i nije omogućavao vraćanje na
prethodno stanje.
Upotreba reverzibilnih vodoskoka danas je rasprostranjena na javnim trgovima Zapadne Evrope i poima se kao
suprotstavljanje strogom i ozbiljnom izgledu određenih mesta (slika 2). Na trgovima poput onog ispred Palazzo Madama
168
The use of reversible waterjets in public
squares is nowadays widespread in Western Europe and is understood to counteract the appearance of certain formal and
solemn places (picture 2). Place du Palais
Madame in Turin or Place Fédérale in Bern,
also have such water games installed.
These facilities are mostly used by children
which oten results in a popular appropriation of the place.
Two memorial elements stand on Place des
Nations: irst, “the broken chair” memorial, which serves to commemorate those
maimed and killed in the mine ields of Angola and that broadly symbolizes the ight
against anti-personnel landmines. This
monumental wooden sculpture was installed before the redesigning of the square;
u Torinu ili Bundesplatz - Place Fédérale
u Bernu postavljene su slične fontane.
U ovim instalacijama uglavnom uživaju
deca, što doprinosi lakšem vezivanju
građana za dato mesto.
Na Trgu nacija postoje dva elementa
memorijalnog karaktera. Prvi je memorijal „Slomljena stolica“ postavljen u znak
sećanja na ranjene i poginule na minskim
poljima u Angoli. Pored toga, on u širem
smislu simbolizuje i borbu protiv upotrebe nagaznih mina. Ova monumentalna skulptura od drveta bila je postavljena
pre rekonstrukcije trga i izvedena je 1997.
prema konceptu švajcarskog umetnika
Daniela Berseta koji je realizovao stolar
Louis Genève. Ideja za skulpturu visoku
12 metara, za čiju je izradu potrošeno
5,5 tona drveta, potekla je od Paula Vermeulena, osnivača i direktora organizacije Handicap International Switzerland.
Skulptura je postavljena ispred glavnog
ulaza u Palatu nacija u avgustu 1997,
gde je trebalo da ostane svega tri meseca,
do potpisivanja Otavske konvencije o zabrani nagaznih mina u decembru 1997.13
Međutim, „Slomljena stolica“ je postala
toliko popularna da je do današnjeg dana
ostala na tom mestu – iako je 2005.
bila uklonjena kako bi se omogućila rekonstrukcija Trga nacija. Uklanjanje je
izazvalo dugotrajnu debatu o tome da li
skulptura treba da se vrati na mesto ili
ne. Ujedinjene nacije su bile neodlučne
po pitanju vraćanja skulpture jer je
ona smatrana suviše uznemirujućim i
„teškim“ simbolom. Gradska vlast Ženeve
je 26. februara 2007. konačno uspela da
13
Više informacija o ovome na: http://en.wikipedia.org/wiki/
Broken_Chair (internet stranici pristupljeno: 20.10.2011).
it was conceived by the Swiss artist Daniel Berset and constructed by the carpenter
Louis Genève in 1997. It is made of 5.5 tons
of wood and is 12 meters high, ater an idea
of Paul Vermeulen, founder and director of
Handicap International Switzerland. The
sculpture was erected at the main entrance
of the Palais des Nations in August 1997,
where it was supposed to remain for just
three months, until ater the signing of the
Ottawa Convention banning anti-personnel
mines in December 1997.10 The chair was
so popular that it remains in place to this
day – although in 2005, during the redevelopment of the Place des Nations, it was
removed, leading to a prolonged debate on
whether to keep it. The U.N. were reluctant
to leave it where it was because it was considered as a symbol that was too “hard” and
disturbing. The City of Geneva (led by a political majority green and rose) was eventually able to impose it on the U.N. and have
it resettled in the same place on February
26th, 2007. (picture 3)
To soten the impression of disharmony
caused by the broken chair on the Place des
Nations, the City of Geneva commissioned a
60-meter-long mural from the artist Hans
Erni – born in Lucerne in 1909 – as a sign
of attachment to an artist who celebrates
peace in his works. The work, inaugurated
in 2009, was conceived in his Lucerne workshop and laid out on ceramic materials, designed to withstand the moods and depredations of time. Its name is “ta panta rei”,
in Greek: “everything in movement”. It symbolizes the hope of freedom and human dignity that numerous people come in here to
10
More info at: http://en.wikipedia.org/wiki/Broken_Chair
(accessed October 20, 2011).
169
nametne svoju odluku Ujedinjenim nacijama, kada je skulptura ponovo postavljena na isto mesto (slika 3).
Kako bi ublažile atmosferu nesloge izazvanu ovom situacijom, gradske vlasti
Ženeve naručile su od umetnika Hansa
Ernia – rođenog u Lucernu 1909. – izradu šezdeset metara dugačkog murala,
kao znak povezanosti sa umetnikom
koji slavi mir u svojim radovima. Ovo
delo, otkriveno 2009, osmišljeno je u
umetnikovoj radionici u Lucernu i izvedeno na keramičkim pločama kako bi
odolelo zubu vremena. Mural je nazvan
„Ta panta rei“, što na grčkom znači „sve
teče“. Slika simbolizuje nadu u ostvarenje
slobode i ljudskog dostojanstva koju ispoljavaju brojni ljudi koji na to mesto
dolaze. Za razliku od „Slomljene stolice“,
ovaj dugački mural u plavim i sivim tonovima diskretno se uklapa u okruženje,
izražavajući osećaj sklada i mira, kroz
predstave ljudskih lica i životinja (golub) u pokretu koji asocira na kretanje po
nebu. Mural je postavljen na betonski zid,
sagrađen da pojača zaštitu ulaza u zgradu
Ujedinjenih nacija (slika 4).
Zaključak
Pouka koja se može izvući iz iskustva sa
Trgom nacija u Ženevi, posmatrano sa
njegovog komemorativnog aspekta, je
ta da javnost ponekad prihvata simbole tragične istorije lakše nego političari.
„Slomljena stolica“ ostaje upečatljiv primer budući da daje ton i značenje ovom
mestu, koje je nekada predstavljalo „crnu
rupu“ u urbanističkom smislu. Možemo
govoriti i o novom obliku monumentalizma, bitno različitom od onoga s kraja XIX veka u Zapadnoj Evropi, kada su
170
Slika 3 :: „slomljena stolica“ (rad daniela Berseta, 1997), trg nacija u Ženevi,
simbolizuje borbu protiv upotrebe nagaznih mina. (fotograija: Bertrand levy)
Picture 3 :: The Broken Chair (by Daniel Berset, 1997), Place des Nations,
Geneva, symbolizes the fight against anti-personal landmines.
(photo by Bertrand Levy)
demonstrate. Contrary to the broken chair,
this long mural in blue and gray tones its
discreetly into the landscape of the place.
It expresses a sense of harmony and peace,
with human faces and animals (a dove), depicted in a movement of celestial dynamics. The mural is located on a concrete wall,
built to enhance the protection of the entry
to the United Nations. (picture 4)
Conclusion
A lesson that may be retained from a commemorative point of view of the experience
of Place des Nations, is that sometimes the
public adopts the symbols of tragic history
with greater ease than politicians. The Broken Chair remains impressive: it sets the
tone and gives meaning to this place, for-
Slika 4 :: Mural „sve teče“ Hansa ernia, 2009. Mural simbolizuje nadu u ostvarenje slobode i ljudskog dostojanstva koju ispoljavaju brojni ljudi koji na to mesto
dolaze. trg nacija u Ženevi. (fotograija: Bertrand levy)
Picture 4 :: Hans Erni Fresco, 2009, “Everything in movement”. It symbolizes the hope of freedom and human dignity that numerous people come in here to
demonstrate. Place des Nations, Geneva. (photo by Bertrand Levy)
monumentalne statue „heroja nacija“
bile uzdizane na pijedestale – trend koji
je danas prisutan kod novih balkanskih
država koje su nestrpljive u jačanju svojih
nacionalnih identiteta.
Zanimljiva činjenica koja se odnosi na
oba novopostavljena simbola na Trgu
nacija jeste da predstavljaju simbole međunarodne i univerzalne vrednosti – različita ljudska lica naslikana na muralu
simbolizuju multikulturalnost današnjeg
sveta, bez posebnog naglašavanja. Njima nije potreban pijedestal – ima li šta
uobičajenije od stolice, predmeta iz svakodnevnog života? – oni su inkorporirani
u prethodno postojeće elemente trga i
pripadaju sećanju našeg doba. Oni takođe
predstavljaju izraze dva različita umet-
merly a “black hole” in terms of urbanism.
We may also speak of a new form of monumentalism, quite diferent from that of the
19th century in Western Europe, when the
monumental statues of “heroes of the nations” were erected on pedestals – a trend
that is common in the new Balkan nations
that are anxious to strengthen their national image.
The interesting fact concerning both of the
newly implemented symbols on Place des
Nations, is that both represent international and universal values – it should be noted
that the diferent human faces drawn on
the fresco represent multiculturalism in
today’s world, but without emphasis. They
do not need any pedestal – what is more
common than a chair, an object of every171
nička jezika: art brut u slučaju „Slomljene
stolice“, odnosno klasična i soisticirana
umetnost u slučaju murala. Kako su veoma blizu jedan drugom i postavljeni na
veoma prometnom mestu (glavni ulaz u
kompleks Ujedinjenih nacija), oni stvaraju tenziju unutar mesta i ne dopuštaju
nikome da ostane ravnodušan prema njihovom prisustvu.
172
day life? – they are incorporated into preexisting elements of the square and belong
to the modern memory of our period. They
are also expressions of two distinct artistic
languages: a form of art brut for the Broken Chair and a form of classical and sophisticated art for the Fresco. As they are
very close to one another and are located
on a nevralgic point (the main entrance of
United Nations complex), they create a tension within the place and allow no one to
remain indiferent to their presence.
Literatura
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