84 arhitektov bilten • architect's bulletin • 224 • 225 • 226 • 227 Spomenik Pod Beram / The Monument Pod Beram Jerica Ziherl 1 Stećak, slo. steček (sinonimi: bilig, kam, marmor, zlamen, kuća, znani tudi kot marmorji, magi, grško pokopališče, karijsko pokopališče in kiklopski kamni), je vrsta kamnitega srednjeveškega nagrobnika. Njegovo ime izhaja iz oblike glagola »stojati«, tj. »stoječ«. Nagrobniki v obliki stećkov so bili zgrajeni v srednjem veku in predstavljajo življenjsko dobo ter jih večinoma najdemo v Bosni in Hercegovini, obstajajo pa tudi v jugovzhodni Hrvaški, jugozahodni Srbiji in severozahodni Črni gori. 2 Besedilo, vklesano na vzhodno stran vertikale, ki ima obliko obeliska, ima enotno tipografijo. 3 Izražene mere so približne. Avtorica je uporabila mero koraka in zgolj ocenila višino obeliska. Literatura Zdenko Kolacio: Spomenici i obilježja 1953–1982 (predgovor Tonko Maroević), Globus, Zagreb, 1984, str. 25, 26, 27. Ime spomenika: Spomenik s kostnico narodnega heroja Vladimirja Gortana Lokacija: Pod Beram, Istra, Hrvaška Leto izdelave: 1953 Avtorja: arhitekt Zdenko Kolacio, soavtor Zdenko Sila Današnji lastnik oziroma skrbnik spomenika: Spomenik teritorialno sodi v mesto Pazin, za organizacijo različnih komemoracij je zadolženo Protifašistično društvo Pazin. Material: kamen, konstrukcija obeliska je iz betona Stanje: Spominski kompleks je ohranjen, a objekt bi bilo vsekakor dobro restavrirati. Spomenik je bil prvotno sestavljen iz monolitnih belih geometrijskih poudarkov znotraj zelenega prostranstva, kar je zrcalilo tradicionalno gradnjo spomenika in cerkve v bližnjem naselju Beram, kjer se je rodil hrvaški rodoljub Vladimir Gortan. Ta prvotni atribut spomenika pa je bil zaradi delne zgraditve stanovanjskega naselja v neposredni bližini spominskega kompleksa kasneje uničen. Tako je bistveni element spomenika, ki ima sicer precejšnjo urbanistično-arhitektonsko in umetniško vrednost, ohranjen zgolj na izvornih črno-belih fotografijah iz preteklosti. Avtor fotografije: Đanino Božić (januar 2020) Ne glede na svoj komemorativni značaj je to prvi spomenik v Istri, ki je pomenil odmik od dotedanjih figurativnih prikazov, kakršne so v spominskih kompleksih po drugi svetovni vojni ustvarjali v vseh republikah socialistične Jugoslavije. Avtor- ja spomenika, po stroki arhitekta in urbanista, sta uporabila preproste geometrij- ske elemente s poudarkom na tipološko povezanih oblikah obeliska in stećka,1 pri čemer sta vztrajala pri uporabi čistih struktur ter spoštovanju okolja in tradicije samega kraja. Tako sta po našem mnenju ustvarila eno od izjemnih del hrvaške spominske dediščine. Z uporabo geometrijskih oblik, njihovim premišljenim in skladnim medsebojnim odnosom ter povezavo s prostorskim kontekstom sta ustvarila svojevrstno alegorično vez med zgodovinskimi dogodki in takratno aktu- alno sedanjostjo. Spomenik je bil narejen v obdobju zapletenih mednarodnih po- litičnih in družbenih vrenj povojnega časa (vprašanje Istre in njene združitve s Slovenijo in Hrvaško v okviru jugoslovanske federacije). Do sprejetja londonskega sporazuma leta 1954 tudi ni bilo rešeno vprašanje cone B Svobodnega tržaškega ozemlja v Istri, zato je dejstvo, da so »ta spomenik postavili Istrani 14. junija 1953«,2 oznanjalo vzpostavitev duhovnega ozračja, ki ni pripomoglo zgolj k vzpo- stavitvi bolj umirjenega obdobja, ampak tudi k razvoju in prestrukturiranju mno- gih družbenih procesov, kar je prispevalo k nastanku določenega ekonomskega, materialnega in kulturnega razvoja ter k večji mednarodni prepoznavnosti. Na kratko bi lahko rekli, da je bil to čas splošnega napredka, ko je vrsta protislovij ostala skritih, pa tudi čas mnogih aktivnosti in uspešnega sodelovanja, kar je po- menilo zanesljiv dejavnik splošnega napredka in tudi napredka v umetnosti. Do skrajnosti zreducirani, pravzaprav abstraktni elementi spomeniškega komple- ksa vaščanov niso zmotili. O tem priča izjava Zvonimirja Baćca (Beram, 1939), ki je dejal, da je bilo pri postavljanju spomenika leta 1953 prisotnih veliko ljudi, tudi predsednik Tito. Ta spomenik je z usklajenostjo geometrijskih elementov, s premišljenim odno- som do belega kamna, z zelenjem v okolici in z arhitektonsko povezanostjo z bli- žnjim krajem pomenil uvod v gradnjo večjega števila podobnih spomenikov v šestdesetih in sedemdesetih letih 20. stoletja. Opis spomenika Spomenik sestavljajo trije elementi: plato, tlakovan s kamnom (180 m²), monoli- ten kamnit blok/sarkofag (višina 170 cm, dolžina 200 cm, širina 100 cm) in verti- kalna oblika, obložena s kamnitimi ploščami (višina 1000 cm, dolžina 150 cm, ši- rina 70 cm).3 Stranice kamnitega bloka/sarkofaga (ožja spodnja baza in širša zgornja ploskev) krasijo reliefni prizori in vklesani besedili enotne tipografije. Južna stran: Tukaj počivajo posmrtni ostanki narodnega heroja Vladimirja Gortana iz vasi Beram, ki je 17. oktobra 1929 žrtvoval svoje življenje za svobodo Istre Severna stran: Istra, ki je bila osvobojena v boju jugoslovanskega naroda ter osvobojena nasilja italijanskega imperializma, je hvaležna vsem borcem, ki so prispevali k njeni neodvisnosti in svobodi. Na vzhodni in zahodni strani so v plitvem reliefu izklesane podobe orodja (motika, nož, škarje, plug, sekira). Prevedla Lidija Jerman Skupno. Posebno. Posamično. / Shared. Particular. Individual. 85arhitektov bilten • architect's bulletin • 224 • 225 • 226 • 227 Jerica Ziherl Name of monument: Monument with ossuary of People's Hero Vladimir Gortan Location: Pod Beram, Istria, Croatia Produced in: 1953. Authors: architect Zdenko Kolacio, co-author Zdenko Sila Present owner or caretaker: territorially, this monument is under the authority of the town of Pazin; the various commemorations are organised by Anti-fascist Association of Pazin. Material: stone; the obelisk's inner core is made of concrete Present state: the memorial complex is preserved but the structure would definitely benefit from a restoration. The monument was initially composed of white monolithic geometrical accents in a green expanse, which mirrored the traditional monument and church builds in the nearby settlement of Beram, where Croatian patriot Vladimir Gortan was born. Due to a residential community having been partly built in the immediate vicinity, this original attribute of the monument was subsequently ruined. This essential element of the monument, which has significant urban-architectural and artistic value, is thus retained only on original black-and-white photographs from the past. Photographer: Đanino Božić, January 2020. Notwithstanding the commemorative character of the monument itself, this is the first monument in Istria which represents a deviation from figurative depictions of memorial complexes up to that point, which were constructed in all the republics of socialist Yugoslavia after World War 2. The monument's authors - architects and urban planners by profession - used simple geometric elements with the emphasis on typologically related shapes of the obelisk and the stećak,1 and insisted on using clear structures and respecting the environment and tradition of the place itself. In doing this, they created - in our opinion - one of the exceptional works of Croatian memorial heritage. By using geometric shapes, employing a considered and har- monious mutual relationship, and establishing a link to the spatial context, the authors created a distinctive allegorical "connection" between historical events and the present situation of the time. The monument was created in the period of complicated international political and social upheavals of the post-war era: the Istrian question and its unification with Slovenia and Croatia to form the Yugoslav federation. Until the adoption of the London Memorandum in 1954, the question of Zone B of the Free Territory of Trieste in Istria also remained unresolved. The fact that this monument was erected by the people of Istria on 14th June 19532 thus announced the engendering of a certain spiritual climate which contributed not only to the commencement of a more tranquil period but also to the development and restructuring of many social processes, which contributed to the fostering of a certain economic, material and cultural development, and an enhanced interna- tional profile. In short, it could be claimed that this was a period of general pro- gress in which many contradictions remained unperceived. This was also a time of numerous activities and successful co-operation, which represented a definite fac- tor of general progress, as well as progress in art. The radically pared down, indeed abstract elements of the monument complex did not raise eyebrows with the townspeople. A testament to this is a statement by Zvonimir Baćac (Beram; b. 1939), who said that a multitude of people were present at the erection of the monument in 1953, including among them President Tito. With the congruity of its geometric elements, the considered attitude toward the white stone, the greenery in the vicinity, and the architectural whole of the near- by Beram, the monument represented a foray into constructing a large number of similar monuments produced in the 1960s and 1970s. Description of the monument The monument comprises three elements: a stone-paved platform measuring 180 sqm, a monolith stone block/sarcophagus (height: 170 cm; length: 200 cm; width: 100 cm), and a vertical shape clad in stone slabs (height: 1000 cm; length: 150 cm; width: 70 cm). The sides of the stone block/sarcophagus - the narrower lower base and the wider upper surface - are composed of scenes in relief and typographically uni- form carved inscriptions.3 Southern side: Resting here are the earthly remains of People's Hero Vladimir Gortan from the village of Beram, who on 17th October 1929 Sacrificed his life for the freedom of Istria Northern side: Istria, liberated in the struggle of the Yugoslav people from the violence of Italian imperialism, is grateful to all fighters For its independence and freedom. On the eastern and western sides, there are images of tools (a hoe, a knife, scissors, a plough, and an axe) carved in low relief. 1 Stećak (Cyrillic: Стећак, [stetɕak]; plural: Stećci, Стећци, [stetɕtsi]) is the name for monumental medieval tombstones, that lie scattered across Bosnia and Herzegovina, and the border parts of Croatia, Montenegro and Serbia 2 The text carved in the eastern side of the vertical, which has the shape of an obelisk, has uniform typography. 3 Approximate measurements. The author used her steps as measure and the height of the obelisk is only an estimate. Bibliography Zdenko Kolacio: Spomenici i obilježja 1953 – 1982 (predgovor Tonko Maroević) (Monuments and memorials 1953 – 1982 (fore- word by Tonko Maroević) - Croatian only), Globus, Zagreb, 1984., pp. 25, 26, 27. 86 arhitektov bilten • architect's bulletin • 224 • 225 • 226 • 227 Skupno. Posebno. Posamično. / Shared. Particular. Individual. 87arhitektov bilten • architect's bulletin • 224 • 225 • 226 • 227 Jerica Ziherl