By Ales Vodopivec, Rok Znidarsic
Ravnikar, 1907 1993, is taken into account the primary determine in Slovenia s post-WWII structure. He used to be Joze Plecnik s most famed scholar. Plecnik studied less than Otto Wagner.
Ravnikar labored for Le Corbusier in Paris as of 1939 after finishing his experiences in 1935. His thorough making plans displays Plecnik s poetic structure, whereas his formal paintings was once in response to Le Corbusier s imaginative and prescient of city making plans and sleek architecture.
Ravnikar used to be his personal guy artistically, and wasn t simply winning as an architect. How paintings additionally made him a huge personage within the improvement of the structure division. He used to be a critic and essayist for the Slovenian and overseas media. All of this motivated generations of Slovenian architects and explains why Ravnikar could be felt in just about all significant Slovenian constructions and monuments.
This monograph will be considered because the results of an exam of Ravnikar s oeuvre. It comprises documentation on his structures and written paintings, in addition to contributions by way of Friedrich Achleitner, William J.R. Curtis, Friedrich Kurrent, Boris Podrecca and plenty of others.
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Extra info for Edvard Ravnikar: Architect and Teacher
It could be argued that monuments have always idealized and simplified complex and con- tradictory historical realities. Post-war socialist Yugoslavia under the leadership of Marshall Tito needed to integrate a multiplicity of Balkan fragments, internal and external conflicts , contrasting national ambitions, diverse political identifications, religions and historical identities. State propaganda of the early 1950S emphasised the secular unity of the larger nation: the Yugoslav Federation. On Rab, Ravnikar looked beyond the ideological imperatives and passing agendas of his own time, and sought out more enduring, epic forms.
At Rab, Ravnikar has organised the scheme as a processional route or promenade architectu- rale. The term comes from Le Corbusier with whom Ravnikar worked briefly in the late 1930'S, and it implies the dimension of time in architectural experience . The moment that the visitor to the Memorial Complex opens the screen-like metal gate, he is drawn into the spatial dynamics of the scheme. Ahead stands a massive stone cylinder on a receding base, an object vaguely suggesting an Antique funerary urn .
On the contrary, abstraction was this architect's means for distilling the past, for fusing sources, for seeking out an essential nature, a sort of archaic , eternal present-a search for certainties after the mechanized destruction and fragmentation of modern warfare. Like Plecnik, Ravnikar inhabited a world washed by many cultures and civilizations. Ifhis 'modern ity' relied upon Le Corbusier, Vienna, Italian Rationalism, abstract painting, German aesthetics and a social ethos of emancipation, Abstraction and Representation : The Memorial Complex at IKamper, on th e Island of Rab (195 2-3) by Edvard Ravnika r Edvard Ravnikar (jar right) with his students - collaborators (right to left ) Mark o Slajm er, Vlad im ira Bratuz and Branko Kocm ut on Rab.