Authors: D.Arts Iris Lobaš Kukavičić, academic sculptor, Lea Đurović Ruso, M.Arch., Maja Čadež M.Arch., Ursula Stanić Siništaj, M.Arch.
The sculptural design of the monument to Pope John Paul II is inspired by the first words of his pontificate: Do not be afraid. Open wide the doors for Christ. It consists of two parts: a figure and a door frame.
The figure of John Paul II is interpreted symbolically. The stylised surfaces of the volume, without portrait features, seek to encompass a rich heritage of the pope’s work, as well as answers to a series of moral questions and peace initiatives. By stylisation and omission of the portrait features, the attention is being turned away from the human towards an atemporal content of his life and work. The volume is shaped in the manner of cubism by simple and clearly defined surfaces which suggest his uncompromising attitude towards the burning global, political and moral questions of the modern man. It is installed without a base, on a central part of an elevated plane in order to be closer to the believers, whom he blesses with his slightly raised arm and invites to follow the teachings of Christ. Because of his warmth and charisma that made him a simple and accessible man, and because of the motto of his many journeys – I wish to enter every home – we believed that a classical base would not be in harmony with his innate habitus.
The frame – the door – is symbolically associated with the present time and with the Apostolic Letter of Pope Benedict XVI Porta Fidei (The door of faith), by which the year of 2012/2013 was declared the year of faith. In the volume of the frame, three relief figures of children are integrated. Three stylised and partly geometricized figures follow the volume and firmly embrace the frame from all sides. Next to the figures stands a motif of the sun and sun rays which reach beyond the frame and whose plastic quality renders the composition more animated. The sun as a symbol of warmth, light and joy, together with the children’s play, gives the entire composition of the door a positive atmosphere and recalls the angelic chant of the Garden of Eden.
The door of heaven and the unbridledness of the children’s play point to and remind of the words of Christ: Truly I tell you, unless you change and become like little children, you will never enter the Kingdom of Heaven. (Mt 18,3)
The sculpture is cast in bronze.
The design of the public space is thematically divided into two units. The space to the southeast of the Church of the Holy Cross, in the vicinity of the monument, makes up the first unit, while the space to the northwest of the church, an enlarged street communication, makes up the second unit.
Spatially, the first unit is defined by the volume of the church and its tower from the north, and the volume of the building from the east. This makes the space more intimate and protected even though it is situated at the crossing of two busy streets. This space is divided into three parts which complement each other thematically and spatially and form an integrated whole. The space which holds the sculpture of the pope makes up the central space. The location of the monument in the space is outlined in relation to the western façade, which is visually dominated by a firm stone structure of the wall; it is also defined in relation to the door/passages in the B section, the church, and the vertical of the tower. Since the pope was devoted to the Blessed Virgin Mary, and since in his papal coat of arms a letter M and motto Totus tuus (All Yours) are inscribed, the green space was conceived as the garden of Mary in twelve strips which extend towards the square and the sculpture of the pope, and intertwine with the pavement, marking their bond. Towards the south, a bench was formed which levels the difference in the height of the plot and closes the space around the sculpture of the pope, like an embrace. The bench forms a more intimate space around the sculpture, suitable for a quiet sit-down or a gathering, while the greenery forms a buffer zone between the street and the square.
An elongated space suggesting movement makes up the second unit, while from the point of view of the passer-by, the theme of the door is implied, as this part provides access to the buildings along the eastern axis. The design of the space and the elements of the design of the public space – pavement, greenery, urban equipment and lighting – develop the theme of the journey: the journey of faith, inspired by the Apostolic Letter of Pope Benedict XVI, Porta Fidei.
The lighting is partly integrated into the floor surfaces (dotted floor light fixtures) and marks the path between the strips in the garden. A linear LED lighting was inserted into the stone benches and in the elevated surface, raising them above the lower part of the square and the garden. The monument is illuminated by the dotted LED lighting in the floor.
For the layout of both units, identical design elements were envisioned (strips of greenery, stone paving and lighting, as well as benches). By their customised treatment, an optimal (cor)relation towards the urban development and architectural project, pleasantness and functionality of use is ensured, as is the message of John Paul II.
