![]() At the bottom of these terraces, there are three sculptures that show great resemblance to the Minoan ‘Horns of Consecration’, the secret bull, which represent the sanctity of the structure (Horns of Consecration, 2014). At the middle of the top-most terrace, there is a large gear-shaped fountain which originally flowed straight down the terraces in a narrow groove, down the hillside where it collected into a large pool at the base of the hill. However, all these stones hold names of people with different religion and nationality, and yet there is no marking for that, which represent Yugoslavian unity and equality of everyone. Yet, some propose that the stones appear to be of a flower-shaped design, which could be meant to represent the ‘blossoming’ of new life from the ground’, says Niebyl. ‘Sources relate a variety of symbolic meanings behind these stone markers firstly, some writings describe them as ‘bird-esque’ in resemblance, which is said to represent freedom and release from suffering- meanwhile, other sources describe the stones to be shaped similar to cut tree stumps, which would symbolize a disconnect and separation from youth. These terraces hold 630 abstractly-shaped stones markers engraved with the names of fallen antifascists. The paths lead to the terraces that are built into the side of the hill. Using the stone from the Neretva River, a long curved cobble-stone walkway is the beginning that emulates the pats of Mostar by designing the walkway that is split into two parts with cascading water in the middle. It was a big complex which had to ascend an elevation of about twenty meters. It was built slowly, laboriously and carefully, by voluntary contributions and also donations of stone from the fallen houses in the war, which gives it a special significance and symbolism. Exactly how Bogdanović described: ‘two cities will look each other in the eyes: the city of the dead antifascist heroes, mostly young men and women – fighters and the city of the living, for which they gave their lives…’ (Bogdanović, Grad mojih prijatelja, 1997, p. It represents the city of the dead, mirroring the city of the living, with the same cobbled paths, alleys, and gates, it is a microcosm of the city of Mostar (Mackic, 2015). Bogdanović’s goal was to make a necropolis on the reputation of the old Etruscan sites in the Middle East (Niebyl, 2016). This city of the dead is a symbol of a child’s dream, innocent and endless in which the architect found his most significant work and succeeded to make a significant architectural work worthy of the last greeting of a man.īogdan Bogdanović was called in 1959 to design a memorial complex for the commemoration of 810 fallen World War II antifascists from Mostar on Bijeli Brijeg, south of the city’s southern outskirts. One of the most significant architectural examples for the dead is Bogdanovic’s necropolis in Mostar, the Partisan’s cemetery. ![]() UM Faculty of Civil Engineering, Transportation Engineering and Architecture
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