The bridge above, in Ljubljana, Slovenia – I am assuming it is a bridge and not a dam – is by Slovenian architect Joze Plecnik (1872-1957), whose architectural style evolved, I gather, toward a sort of edgy Art Nouveau. He was born when Slovenia was part of Austro-Hungary, and died well before its peaceful but largely unnoticed, in the West, separation from Jugoslavia. Plecnik spent part of his life working in Prague, especially adding many bits and parts to Prague Castle. Plecnik was caught up somewhat, but clearly not disastrously so, in his field’s growing resistance to traditional form. This bridge proves that Plecnik had a great sense of humor.
Plecnik is, I believe, one of the architects Andres Duany hopes, in his upcoming book, or treatise, called Heterodoxia Architectonica, to reclaim for classicism after they have spent decades in absurd modernist re-education camps. (Louis Sullivan is another such prisoner of modernist architectural revisionism.)
I have looked without success for confirmation of news that a longstanding exhibit of Plecnik’s work, with a host of fabulous wooden models, at Ljubljana’s city museum was closed because current new Slovenian architecture being promoted by the authorities (often, says my source, quite good) looks tepid next to Plecnik.
In short, I am fishing for evidence of modernism’s totalitarian bent. The facts may not bear out my meme, but I lack facts. Meanwhile, below are a couple more images from Ljubljana, which I gather is considered one of the next undiscovered tourist destinations.