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Arhitektura,kritika,Razmislek
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30 septembra, 2020

Eva Tisnikar: Virus kulture

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Zdi se, kot da imajo zapuščene, degradirane ali nedokončane stavbe na slovenski obali zgolj dve možnosti: nadaljnji propad ali pa gentrifikacija v bleščeče turistične nastanitve. Obstaja morda vmesna pot? Odgovor je moč najti, če analiziramo kulturno dogajanje v zadnjih desetletjih, še posebej alternativno, ki pronicljivo zrcali družbene in prostorske dileme.

Zanimanja za alternativno kulturo na obali ne primanjkuje, kot nam kaže občasno tudi pestra zgodovina določenih prostorov. Spomnimo se na primer kluba Shoto pod Belvederjem v Izoli, ki je med leti 2003 in 2007 gostil kar 500 glasbenih skupin, organiziranih, seveda, s strani prostovoljcev. Danes je tam občasno delujoči bar, ki žal večino časa preživi v tišini. Zaradi obdajajočega klifa bi se glasni koncert morda res slišal po celotnem mestu, vendar bi bilo to moč rešiti z izbiro ozvočenja ali vrste dogodka (npr. branja poezij). Sam prostor bi lahko ostal tak, kot je, z občasno postavljenim odrom – zgodovina kaže, da za bogato glasbeno sceno ne potrebujemo bleščečih in dragih novogradenj.

V Kopru je delujoči mladinski kulturni center (danes CMK), ugnezden v zgodovinsko mestno jedro na Gregorčičevi 4. Ponaša se z bogato glasbeno in kulturno zgodovino, ki z vmesnimi prestanki in spremembami v vodstvu sega iz 60. let vse do danes. Majhen, z grafiti obdan prostor je dolgo predstavljal glasbeno in politično središče alternativne kulture za širšo regijo, vendar je bilo delovanje centra zaradi glasnih koncertov problematično. Sosedom navkljub, utesnjena zgradba priča o maksimalnem izkoristku prostora, ki pod vodstvom raznih kulturnih društev, aktivistov in mladih omogoča družabno preživljanje prostega časa.

Skupina mladih je v Kopru leta 2015 zasedla in očistila prostore zapuščene in propadajoče tovarne INDE na obrobju mesta. Ustanovili so Ustvarjalno Platformo INDE, ki je delovala dve leti in v tem času prostovoljno organizirala rekordno število raznoraznih dogodkov (predavanja, razstave, predstavitve knjig in filmov, ustvarjalne delavnice, dobrodelni večeri). Zasedena tovarna je predstavljala platformo za srečevanje različnih mišljenj in iskanje kreativnih rešitev za pereče družbene probleme, poleg tega pa je bila od mestnega jedra primerno umaknjena. Do prihoda novega lastnika je tako s svojim programom kritizirala obstoječe prostorsko in politično stanje mesta, ter ponudila alternativo, ki ni osnovana zgolj na najbolj dobičkonosnih poslih.

Sprememba namembnosti velikih industrijskih objektov v Evropi je že ustaljena urbanistična praksa. V številnih prestolnicah je tako dosti zapuščenih industrijskih objektov prenovljenih v muzeje, nočne klube, galerije, bivalne prostore in izobraževalne ustanove s poudarkom na ustvarjanju nove in ohranjanju stare kulturne identitete.

Podani primeri kulturnih središč, ki se razlikujejo po velikosti, obdobju in lokaciji, kažejo, da za dobro uporabo ali porabo prostora ne potrebujemo blišča gentrifikacije ali bogatih turistov iz tujine. Ponuditi priložnost lokalnim in alternativnim idejam je nujno za vitalnost in kulturno raznolikost mest. Še posebej v času epidemije, saj takšne rešitve premagujejo tudi prepreke, ki jih je ustvaril virus. Večje število manjših prireditvenih prostorov bi lahko omogočalo več, bolj intimnih in varnih dogodkov, saj bi lažje nadzorovali število ljudi in posledično omejili širjenje okužbe. Prazne parcele in razpadajoče stavbe bi tako lahko igrale ključno vlogo pri širjenju kulture in omejevanju virusa.

Čeprav se zdi, da vmesne poti med razpadanjem in popolno prenovo oziroma spremembo namembnosti parcel ob morju ni, obstajajo kotički in skupine ljudi, ki s svojim delom dokazujejo nasprotno. Kultura se navsezadnje, prav kakor virus, lahko razmnožuje le v živih celicah.

Piše: Eva Tisnikar

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