THE BRUTALIST BEAUTY OF SPLIT SUNSET

Split is famous for its Unesco protected Old town that is basically a preserved ancient Roman palace, but there is more to Split then just its ancient part. As a lover of history, I often post about the old parts of Split. As a lover of architecture, I sometimes post about the parts of Split built in the seventies and eighties! If you have been following my blog for a while, you might have come across posts showcasing modern neighbourhoods such as Split 3 (with its University Campus),  Trstenik (with its signature skyscrapers) and Žnjan (that is not restricted to the namesake beach but rather a whole neighbourhood). There is a lot to see in Split. Besides the more well known ancient parts of Split, there are also these award winning modern but still historical neighbourhoods, a triumph of brutalist architecture dating back to the seventies and the eighties. 

Dinko Kovačić, in particular, is a Split architect whose work continues to amaze me and inspire me. One of the most significant Croatian architects of all times, he once famously said that his inspiration has always been- Split city. Growing up in the streets he and other Split architects designed has been a privilege.  The  work of these architects continues to inspire me. 

The architects of the seventies and the eighties designed sunbathed streets that were safe for adults and children to wonder about and explore. They designed streets that not only respected the Mediterranean cultural need for constant socialization but strived to enhance that experience. Our parents never had to worry about us spending entire days outside, as the neighbourhoods were extremely pedestrian friendly, designed like little urban islands secluded from the main roads. Perhaps most importantly, these neighbourhoods were planned. These days many cities in Europe and worldwide struggle with urban planning, growing quickly and out of control, so it is no wonder people are starting to look at the architecture of the sixties, seventies and eighties with nostalgia. Especially if that architecture happens to be people-centric! 

BACK IN MARCH, I STAYED IN SPLIT FOR A WEEK

Back in March, I had a mini vacation of sorts.  I went to Split with my significant other and stayed there for about a week, visiting towns Stobreč and Trogir as well. If you want, I can blog about my March visits to both of these towns as well. The weather during my March visit was sunny, but it was also a bit cold, so I had my winter coat on me at all times. Things weren't much different during my April stay in Split when the weather was chilly and cold. In fact, the wind was so cold, I ended up with a fever. My April stay was only two days long and less touristy but we'll talk about that some other time. Today I'll show you an outfit I wore as the sun was setting in Split city one March evening. 

THIS OUTFIT I WORE AS THE SUN WAS SETTING

Not surprisingly, I shopped my closet for this comfy and warm look. Spring can be cold. March is famously unpredictable. When I visited Malta three years ago, the weather was quite cold as well and I not only layered all of my clothes to stay warm but had to borrow additional layers from friends.

This time in Split, I didn't have to borrow clothes, I packed enough. I opted for a summer dress but I layered well, so I was very warm. I wore a floral mini skirt but I layered a warm turtleneck sweater over it and thick leggings underneath. I finished the outfit with a black coat and statement biker boots with studs and belts. 

THE STORY OF MY OUFIT: SUSTAINABLE FASHION FILES

HOW I WORE IT BEFORE?

THE SHORT BLACK DOUBLE BREASTED COAT - Tally Weijl

See how I wore it in an all black styling ( apart from a colourful scarf)-the one where I'm posing with our neighbourhood cat.  More recently in this fashion illustration post where I paired it with a blazer and a Bellissima skirt. Back in 2019, I shared plus thirty ways to style this short black coat. Since then, I must have worn it as many times if not more.

Throwback to 2015, showcasing both this coat and the beautiful brutalist architecture of Split 3 and Trstenik

THE FLORAL DRESS- (old, no name)

In this 2019 post, I shared 21 way to wear this floral dress. Since then, I've gotten to more than 30 wears, so that's great. In this 2024 post, I styled this floral mini dress with a vintage purple blazer worn over it, lilac blouse worn underneath it, black striped tights, a belt bag and black moccasins. In this 2024 post, I styled this floral dress with a ruffled floral shirt underneath, skin coloured tights and metallic stilettoes. 

THE MUSTARD SWEATER (old)

You can see how I wore this mustard yellow turtleneck sweater with a checkered burgundy jacket here in 2021.

I wore it with a yellow checkered skirt and a checkered burgundy jacket in 2024. See how I wore it with an animal print dress, brown boots and a black leather jacker in 2021. See how I wore it with this same jacket but with a different skirt (Bellissima black and red semi pleated skirt) in 2021 and with a maxi vintage grey skirt, high brown boots and a black leather jacket in 2023; with a navy print dress, a black puffer, brown boots and an animal print dress in 2020; here with a pair black flare jeans and Startas sneakers in 2020; here with an animal print dress and driving loafers for a warm autumn 2020 look; here with a blue pleated skirt and camel boots in 2020; with a pair of navy blue flared trousers, a black studded bag and leopard heels in 2020;  with a maxi olive green gypsy skirt, biker boots and a burgundy jacket in 2021; with a button up dress, biker boots  and this same burgundy jacket in 2020 and finally with a black skirt, biker boots and a leather jacket in 2021. 

THE STATEMENT BLACK BIKER BOOTS WITH STUDS AND BELTS- Italian brand, they were bought in Retro house store in  Mostar in 2025. You can see how I styled these black boots with a green maxi dress and a biker jacket for a visit to Hutovo Blato here.

SO, LET ME TAKE YOU ON AN URBAN WALK THROUGH MODERN YET HISTORIC PART OF SPLIT AS THE SUN IS SETTING

What do we mean when we say modern? That's a good question isn't it. Whether we're speaking about art, music or architecture, modern is a tricky adjective as it can be applied to any period from the nineteen to twenty-first century. 

So, these buildings built in the seventies or eighties would be both historic and modern. If you browse my blog, you'll find many images of them, taken at different times of day.

Brutalist architecture is often edited in harsh tones or black and white images that sometimes make it look different that what it really is. It makes for interesting photography choices, but is it a true representation of what it looks like? Not really. On my blog, you can find more realistic photographs, most often unedited. 

If you browse my blog, you'll also be able to find photographs taken at sunset, that show you the sunset in an urban setting. For example, this post captures sunset in Trstenik area, showing the brutalist architecture pretty well.  If you have an interest in studying or thinking about architecture, I recommend you to read more specialized articles (there are many online, just google brutalist architecture in Split, there are guided tours and what not) or just articles/posts written by local people. 

Social media has its trends but it is rarely a good source of what really looks like. You'll probably find better images if you look through unintendedly taken photographs of a certain neighbourhood, then if you see images by someone who wants to portray a neighbourhood in whatever light for whatever reason. When we talk architecture, context is everything. Certain trends that emerge make people look at everything in the same light, but really there is a story behind every buildings- and you need to do some digging to find out what the roots are. 

STARTING OUR WALK PHOTODIARY BY POSING NEXT TO A BIG FIG TREE

There are no leaves on this  fig tree. It's bare yet it is alive. The same can be said about the architecture of brutalism. It often features bare walls, exposed building structures and raw cements. However, it can feel alive. 

To truly judge architecture, you need to observe it in its natural surroundings. Context is everything. Every street, every buildings, every monument,  anything and everything that is constructed exists within a context. 

So, we start our walk and take our first photograph next to this fig tree. There's a bit of gold light in my hair coming from the sunset and it's visible in this photograph as well. We continue our walk, wondering through these people-centred and pedestrian friendly urban streets. 

As I grow older, I realize that it was a privilege growing up in these kind of neighbourhoods, safe from traffic. With the unplanned urban development one sees today, it is easy to feel nostalgic about the times when building projects were actually planned. 

I UNDERSTAND WHY BRUTALISM GETS A BAD RAP BUT IT CAN BE INSPIRING

The architecture of brutalism often gets a bad reputation. I get it. As most of you probably know, brutalism is believed to have originated from the modernist movement, in the fifties. In some areas of UK, traditional houses were demolished are replaced with buildings nobody liked and that did not add anything (not even extra living space) so it is understandable they were not well liked. These brutalist buildings were often built against the will of people and of course many people ended up hating them. It's only understandable. Architecture that does not take into account the people it is supposed to built homes for is no true architecture, but rather an exercise that serves little purpose. 

Brutalism as a style of architecture came to life when architects came. Sometimes it also had the difficult task of fixing what was destroyed in the Second World War, and it still sometimes carries that postwar connotation to some. 

Brutalism is sometimes connected to communist countries. It has certainly been popular in many communist countries. This kind of architecture, especially when it comes to buildings, is often called communist or socialist architecture.  However, it's present worldwide, on every continent and it has been present since its beginning in countries that had nothing to do with communism. It's a style of architecture that is still present and that will probably to continue to exist for a long time. What do we talk about when we talk about Brutalism or communist/social architecture? What do we talk about when we talk about architecture in general? It can never be a conversation focusing just on style and aesthetics. Any serious discussion of architecture needs to consider many things, from history, to economy, from climate to geopolitical factors. There is a lot to talk about if you want to talk about it seriously. 

In February 2015, ten years ago we captured another beautiful sunset and the postmodern brutalist beauty of Split

Brutalism is a very wide topic, far too wide to cover in one blog post. What I will do here in this post is perhaps just showcase some positive aspects of it. Brutalist architecture was not always done just for function or experiment. It was not always just a quick fix. Sometimes it was done right and with planning. Sometimes it was people-centric.  In the modern part of Split, we can see the triumph of Brutalist architecture. Local architects developed whole neighbourhoods with Mediterranean culture in mind. 

Split's socialist, communist or modern architecture of mid to late twentieth century (whatever you want to call it), has been started to come into focus. In Split, there are efforts to recognize and preserve it. To recognize what was good urban planning, especially compared to present times when the city often seems to grow without a plan.  I watched one really good documentary about this topic produced by Croatian National Television titled 'Betonski spavači'.  You can find parts of it on YouTube as well.  It's a very educating documentary, but again I cannot address all the aspects of it in this little post of mine. 

Sometimes the brutalist architecture (in its various forms) is connected to ruins. Sometimes it is not. Sometimes it is far from ruins, and quite expensive to purchase. Sometimes ruins are frequented by tourists. Sometimes not. There are many faces and sides to what is called the brutalist architecture. 

Socialist ruins or brutalist ruins are another topic that merits discussions but I will not have time for it in this post. The reasons why brutalist buildings come to ruins are complex. It can happen everywhere around the world and is not necessarily connected to socialism or communism. Sometimes it is just bad planning, sometimes the lack of funds, sometimes the changing economy.  The reasons why any country might struggle with its brutalist architecture are numerous as well. There are many reasons why there is controversy connected to brutalism, modern and postmodern architecture. Both controversy and nostalgia come up within discourse about Brutalism or Postmodern architecture. If you google the terms, dozens of articles will come up. It is a real rabbit hole. Brutalism is a term often misused and misunderstood. It encompasses a wide variety of meaning. 

Some feel nostalgic towards the time when there was more planned urban developed, some feel that this style has been controversial from its starts. I can understand both to be honest. Maybe some day these thoughts of mine will evolve into a longer post and I will explain what do I mean by that, but not today!

As Tolstoy say, all the happy families are the same, every unhappy family is unhappy in its own way. When it comes to Split 3, you can see an example of a 'happy family' or architecture that functions well. There are also the 'unhappy' buildings, monuments and structures, unhappy in their own way.  Yes, the same is the case with failed brutalist buildings or monuments. Those unhappy ones are all unhappy in their own way. Abandoned structures, monuments and buildings are a different topic altogether.

 Brutalism is a style of architecture that is often controversial, and understandably so. In connected to it, there is such a thing as controversial tourism. Some bloggers have written about this topic but as I said, there just isn't enough space for it in this post. Perhaps some other time, though. Today's view is a more a meditation. Finding beauty in the urban beauty. Finding beauty in an evening walk. This post is not exactly nostalgic for I'm not nostalgic about the past that isn't even my past. Rather it's about finding value in things around us- and modern architecture is a part of that. If it is done well, why not appreciate it? 

What happens when brutalist architecture does what it was always supposed do to? Create safe and quality buildings and homes for people? Well, to see that you might want to take a walk in the more modern areas of Split. Here the local architects designed neighbourhoods that are people and children friendly, neighbourhoods filled with public squares and skyscrapers that are facing the sea like giant ships just about to sail. They calculated things like eye contact (really!) when they were designing the streets. This kind of architecture has stood the test of time.  

Of course some streets are better maintained that some others. In some areas you'll see graffiti and stuff like that. Public parks are under attacks of investors, so even these urban modern and historical gems are in jeopardy. It's not all ideal, but it is also not depressive as some would imply.  Most of the time these streets are filled with light. There are little walls everywhere for people to sit down on and chat. 

SPLIT 3 IS IN SOME WAYS A PROJECT THAT IS STILL IN PROGRESS

Split 3 was built with plan when Split expended. Its population grew five times and Split 3 was an answer to that. 1n 1969,  a team of architects from Slovenian Institute of architecture won- and their plan was impressive. 

In truth, Split 3 was never fully completed- not the way it was envisioned. Funding run out, and it was never completed. What is Split 3 exactly? As the name would imply, it is the newer part of Split. The Split one would be the Diocletian palace, the Split two the original houses and villas built around it- and Split 3 would be the new part, the one whose building started in the seventies. 

However, it is hard to find Split 3 on a map. here are several neighbourhoods that are a part of Split 3 (Kampus, Trstenik, Križine, Žnjan and a part of Mertojak). Some of these neighbourhoods and streets were designed by a team  of architects, some by a single architect. Many worked on these neighbourhoods and the original design was by the Slovenian Institute for Architecture.  

SPLIT 3 CONTINUES TO LIVE ON AS THE SPLIT CITY EXPANDS 

Split grew in importance after the Second World War, having been the centre of Partisan movement and all that. During the second half of the 20th century, the population of Split city grew rapidly. Obviously, there was a need for new housing, as thousands of people that arrived to Split for work needed to live somewhere. The city was growing by the day. In 1968, a state architecture competition for the construction of a new part of the city was announced.

Urban planners from the Urban Planning Institute of Slovenia won the competition in 1969. Their names?  Vladimir Mušič, Marjan Bežan and Nives Starc. They came forward with this bold idea of ​​building a new settlement that was to be called- Split 3. Yugoslavia seems to have run out of funding eventually, especially after winning  the organization of the Mediterranean Games in 1979, when the Slovenian urban planners returned to Ljubljana. The project was continued with smaller funding and staff,  resulting in smaller individual projects. So, basically it was continued but on a smaller scale and it a way it is still not finished. 

From Wikipedia (translated by me) : However, although it is not fully completed today, Split 3 still lives on a concept in the mind of ​​the population and is used in public discourse among its residents, but also much more widely, in the media, mentioned at professional conferences, etc. The project has been analyzed by experts around the world, books, articles, reviews, criticisms have been written about it, and a film has been made.[1][2] Award-winning Croatian architect Luka Skansi called the project the Diocletian's Palace of the 20th century.[3] Today's streets covered by this project are streets Ruđer Bošković, Marin Getaldić, Juraj Dobrila, Rikard Katalinić Jeretov, Faust Vrančić,, and street Kroz Smrdečac.

We didn't plan our walk with the sunset in mind. It just happened that we came to a perfect spot to see it. We simply had luck to see the sun setting between the buildings into the sea. Isn't it glorious? I posed for some pictures but I also enjoyed taking pictures of the sunset. Sometimes I really miss having a proper camera. We never did get a new one after our old one broke down. Cellphones are practical for photography, but it is never quite the same as having a proper camera, is it? Still, it's nice to take pictures either way. I have almost forgotten how enjoyable picture taking can be. Of course I take pictures, but I have been working hard lately and often the only pictures I took were photographs for work. It was really nice being able to relax and stroll around. I really enjoyed this walk immensely. 

Often we think one has to have one or the other- nature or city. However, there are ways to encompass both, to make urban spaces more people friendly. There is a way to build neighbourhoods so that they make sense in the context of socialization. There is a way to build streets so they are pedestrian friendly. However, it takes planning- and it seems that these days urban planning is something of a forgotten skill. 

Split 3 is neither a perfect project, nor a finished one. There's room for improvement in many areas, but it's an accomplished project, a proof that urban planning can be done right. There are some really beautiful streets here, ideal for long walks. As someone who loves strolling the city, they are a dream. There is of course also the sea. My eternal source of inspiration. Always beautiful, always perfect. 

CITED FROM https://www.mdpi.com/2571-9408/6/7/265

“I have searched for an understanding and measure. An understanding between modernity and tradition. A measure between satisfaction and happiness.” (Dinko Kovačić)

Dinko Kovačić (Split, 1938) is a prominent Croatian architect who worked in the second half of the 20th and the first decade of the 21st century. Given the fact that he has lived and worked in Split all his life, most of the buildings he has designed are in Split and its surrounding area. Only towards the end of his career were his buildings executed in other parts of Croatia.

Croatian modern architecture is the focus of numerous recent professional and scientific studies. Monographs have been written about many Croatian architects, for example, Branko Kincl, Marijan Hržić, Miroslav Begović, Lavoslav Horvat, Zoja Dumengjić, Frano Gotovac, and Nikola Filipović [1,2,3,4,5,6,7].

The work of architect Dinko Kovačić is recognised as extremely valuable. In most encyclopaedic and lexicographic editions concerning culture and art there is a note or a short entry on Dinko Kovačić and his work [8,9,10,11,12,13]. Many authors dealing with the architecture of the post-war period have written professional reviews about his realisations. They discussed the specific typology of construction, the stylistic direction, and the particular area of construction, etc. [14,15,16,17,18,19]. However, for a more complete review of his work, one must turn to the exhibition catalogues, which the architect prepared himself [20,21,22].

.....

Dinko Kovačić has lived all his life in a traditional house on the peripheral part of Veli Varoš, a common suburb at the foot of Marjan Hill, on the western side of the historic centre of Split and Diocletian’s Palace. The Varoš area is rich in greenery that descends from Marjan to the seafront. Traditional stone houses, narrow stone-paved streets, and a few small gardens create the typical atmosphere of a densely built Mediterranean settlement on a hillside. The Kovačić house is accessed from the terrace on the promenade connecting lungomare with Marjan hilltop. Because he lived in this exceptional place all his life, Kovačić wanted to give other people an architectural space that is a starting point for happy living.

Indeed, this traditional background might have been what helped Dinko Kovačić planned these habitable, livable  and people friendly- streets. Is a well designed home a starting point of happiness? It certainly doesn't hurt, does it? 

HOW THE BIRDING EXPERIENCE INFLUENCED DINKO

Kovačić has been a birder all his life. He has always had a large birdcage on the terrace of his house. In his office at Bosanska Street in Diocletian’s Palace, birdhouses were hung on the old stone walls. Observing the birds building their nests, Kovačić noticed the rationality and sense of measure in nature and life and adopted it in his architecture: “The swallow builds the nest in the proportions of its body so that it holds heat, even though there is plenty of mud and twigs it uses to build the nest. Measure is the most important thing, not only in architecture but also in life’’ [33] (p. 276). “Birds are”, he would say, “beings without vanity. Vanity is the man’s greatest burden which makes him constantly and needlessly want more and more, bigger rooms, terraces, windows...’’ “Measuring the measure is the duty and the rule of our profession” [56] (p. 20). As Kovačić points out, the nest is a symbol of construction. A picture of a swallow’s nest featured on the poster of his exhibition in Brussels in 2002/2003, and on the poster announcing his lecture “Split 3—my memories” in 2018 in Split. On the front door of his office, the same picture is standing next to the inscription “Architect Dinko Kovačić’s Office”.

CITED FROM https://www.mdpi.com/2571-9408/6/7/265

Architect Kovačić is recognised as an excellent designer of various architectural types. His oeuvre is dominated by residential architecture starting with the large residential ensembles of Split 3 from the 1970s, through to a series of residential buildings in Split, Rovinj, and Supetar, to family houses. He is also renowned for holiday houses, which he designed for his friends in parallel with his “serious” tasks during his entire professional practice. Kovačić realised several school buildings and hotels, such as the Žrnovnica Primary School from 1990, the Secondary School Centre from 1992, the Faculty of Economics built in Split in two phases, in 2001 and 2006, and his last finished building, the Meterize Elementary School in Šibenik from 2010–2012. Among the hotels, two projects stand out: Hotel “Bretanide” in Bol on the Island of Brač from 1985 and the “Uvala“ Hotel in Lapad Bay in Dubrovnik from 2003, a very successful project of reconstruction and adaptation of the existing resort from the period of socialism.

Because of his continuous and fruitful professional activity, he is one of the most respected professors of the Faculty of Architecture. In his 2016 monograph on academic Branko Kincl, architect Zlatko Karač distinguishes Dinko Kovačić, along with some other professors of the Zagreb Faculty of Architecture, for having academic authority not only due to the quality of his work but also because of the quantity of his experience. “These are all professors who not only formally taught architecture, but have also created outstanding works of their time, confirmed on numerous ‘construction sites’!” [1] (p. 83).

Dinko Kovačić taught students the skill of designing based on his own experience. He always emphasised: “Every project must have three elements, or phases: knowledge, conviction, and enthusiasm. Without enthusiasm, it makes no sense to even pick up a pencil” [66].

He conceived the Summer School of Architecture in Bol on Brač called “Modernity and tradition or... as written in stone” and successfully led it from 1997 until his retirement. Students and lecturers talked and debated about architecture, its role in society, and its relationship with natural and architectural heritage. Academician Jakša Fiamengo reported on the Summer School in the daily press. The titles of articles in “Slobodna Dalmacija” best describe the atmosphere of the school: “The light of the Brač stone”, “Architects are producers of happiness”, and “Architectural school of wisdom” [123,124,125].

Dinko Kovačić belongs to the generation that began its professional journey at a time when many of the shortcomings of the International style, which prevailed in post-war Europe, were becoming clearly visible. These shortcomings were partly related to the narrow interpretation of functionalism and the reductivism of modernism, and partly to the uncritical application of new building technologies. After the Second World War, at first, due to the need to rebuild war-torn Europe, and then due to social changes brought about by rapid industrialisation, deagrarianisation, and urbanisation, there was a need for fast construction and the expansion of cities. Very similar types of prefabricated construction were used across Europe, which further impoverished the reduced architectural language of modernism by their technological and economic requirements. On the other hand, it became clear that the functionalist approach to design imposed certain patterns on space use, which did not correspond to the users’ real needs and habits.

The first research using a participatory approach in design appeared at the beginning of the 1960s. As a result, users were given a greater opportunity to influence the future space within the scope of their jurisdiction. Although participatory design did not take off to a great extent, it clearly addressed the shortcomings of strict functionalism and, in this sense, influenced the future generations of architects.

Already in the 1950s, there was a stronger awareness of the importance of the unity of experience and material in architecture. This was manifested in a series of seminal works in the 1960s that criticised the degradation of the built environment because of economic and technological pressure, which ignored the people’s need for identity and connection with place. The importance of the role of images and symbols in architecture was becoming stronger, as was the connection with the historical context. The return to pre-industrial urban forms became an amalgam for an impoverished architectural language and devastated environment. The exact reuse of the historical elements, which resulted in a scenographic, nontectonic approach, as well as the superficial manipulation of signs, emerged as an essential feature of postmodernist architecture.

Simultaneously, some architects in different parts of the world managed to establish a balance between the social and psychological meaning and the tectonic nature of the architectural work. The reinterpretation of the cultural context expressed through modern technological means was recognised as a common thread of critical regionalism [126,127,128].

Such an approach in design, which accepts and affirms the achievements of universal civilisation while representing the values of a specific culture, was the basis of the architect Dinko Kovačić’s specific work. His thinking, proposed concepts, and realisations place him next to his European counterparts. Kovačić relied on tradition and transformed its apparent forms into a modern repertoire of design tools with which he shaped his buildings. These elements are very recognisable and bear the architect’s strong personal touch.

Kovačić was intrigued by the problem of alienation in modern society. He strived to offer people a pleasant place to live in large apartment blocks and towers. The educational buildings—schools and colleges—designed by Kovačić have become places not only for studying, but also places for socialising and spending time due to their spatial organisation, which follows the pattern of a Mediterranean city. While designing hotels, he followed the same spatial pattern, enriching it with many unexpected details striving to connect the tourist with a place. His design approach is characterised by exceptional empathy, which resulted in architectural works of intense connection with the environment as well as with that of their future users. (source)

I agree with Kovačić that there is a problem of alienation in our modern society. Some societies are perhaps more social than others, but at its core as human beings we are social beings. We need to strive to live in spaces that reflect that. Sometimes an apartment building will be a solution to a housing problem. We cannot all live in houses. However, that apartment building should be built with people in mind, with culture in mind, with weather in mind. 

When I think of my teenage years, I think of all time my friends had spent hanging out on my balcony. We practically lived on our balconies. We waved to one another from buildings. We played outside all the time. We spend our days at little public squares. This was all in these postmodern neighbourhoods. It was all very Mediterranean, because it was built by a Mediterranean architect. 

WE TALKED ARHICETURE, NOW LET US TALK ART AGAIN!

I have included a bit of information about one of my favourite Split architects Dinko Kovačić, added some of my own thoughts and I think that's enough of architecture talk for today. As our walk was drawing to its end, we came across this lovely park. I have actually painted the view from this park. I have actually recently bought a new frame for this painting (I managed to find it). 

ART ALLOWS US TO TRAVEL- TRAVEL WITH MY ART! This artistic feature on my blog enables me not only to share my paintings of places that inspire me, but to write about them as well! VISIT OTHER TRAVEL ART POSTS AND TRAVEL WITH MY ART! 

 #1 PALERMO ISLAND SICILY (ITALY   #2 BAY MALA STINIVA, ISLAND HVAR (CROATIA)   #3 IRKUTSK, SIBERIA (RUSSIA) #4  MATEJUŠKA, SPLIT CITY (CROATIA) #5 HVAR CITY, ISLAND HVAR (CROATIA)

 #6 ZENTA MARINE, SPLIT CITY (CROATIA) 

Every painting is a different memory. For my sixth painting in the series, I illustrated a scene from my hometown and once again it's all about the boats. I distinctly remembering sketching this one.

 #7 ZAVALA, ISLAND HVAR (CROATIA)  #8 SUCURAJ, ISLAND HVAR (CROATIA)

#9 MALA STINIVA, ISLAND HVAR (CROATIA)  #10 HVAR TOWN, ISLAND HVAR ( CROATIA)

#11 JELSA TOWN, DANCE OF THE SAILS (CROATIA  #12 ZAVALA, ISLAND HVAR, (CROATIA)

#13: SUCURAJ LIGHTING HOUSE, ISLAND HVAR (CROATIA)  #14: BAY BRIZENICA, ISLAND HVAR (CROATIA)  #15 BAY LOZNA, ISLAND HVAR (CROATIA) #16 BAY VEPRINOVA, ISLAND HVAR (CROATIA)

#17 BOL, ISLAND HVAR (CROATIA) #18 PLANINICA, (BOSNIA AND HERZEGOVINA)

#19 SUCURAJ, BOATS AT PORT, ISLAND HVAR (CROATIA) 

#20 BEACH SOLINE,VRBOSKA,  ISLAND HVAR (CROATIA)

#21 STARI GRAD, VIEW FROM HOTEL ARKADA, ISLAND HVAR (CROATIA) 

#22 MAKARSKA BOATS  (CROATIA)

#23 ZAVALA  BEACH PANORAMA (CROATIA) 

#24 ŽNJAN BEACH, SPLIT CITY (CROATIA)

This Žnjan painting was painted on plain air which was a fun experience. I remember one lady approached me to talk to me. I painted it on beach Žnjan in Split city, Croatia. I don't do a lot of painting in the open but sometimes I do venture outdoors, for example HERE.

#25 JELSA, ISLAND HVAR (CROATIA)

 #26 ZAVALA BEACH BAY, ISLAND HVAR (CROATIA)

#27 MALA STINIVA IN SUMMER, ISLAND HVAR (CROATIA)

  #28 TRAVEL WITH MY ART, BASINA BAY, ISLAND HVAR (CROATIA) 

#29 TRAVEL WITH MY ART, BAY TORAC AT SUNSET, ISLAND HVAR (CROATIA) 

#30 TRAVEL WITH MY ART, VALETTA, ISLAND MALTA (MALTA) 

  #31 TRAVEL WITH MY ART : CAPE PLANKA (CROATIA)

 #32 TRAVEL WITH MY ART: SQUICK ZAVALA SKETCH (CROATIA)

#33:TRAVEL WITH MY ART  LOZNA COMISSIONED, ISLAND HVAR  #34 ART BOTA SURF CENTRE, VRBOSKA, ISLAND HVAR, CROATIA

#35 TRAVEL WITH MY ART : BEACH KAMENJARA, VRBOSKA, ISLAND HVAR (CROATIA ) 2023 

#36 TRAVEL WITH MY ART A COMISSIONED CHAPEL PAINTING MOSTAR 2024

#37  A SEAVIEW FROM A PARK (SPLIT, CROATIA)

I used my old photographs as a  reference. I took these two photographs while I was walking through this park. Click to see the whole painting process!

#38 BUNA CANALS NEAR MOSTAR, BOSNIA AND HERZEGOVINA 2024

#39- STJEPAN FORTRESS BLAGAJ (BOSNIA AND HERZEGOVINA) 2024

#40 

https://modaodaradosti.blogspot.com/2024/09/travel-with-my-art-40-view-from-marine.html

With this, our walk is coming to its end. This is a post that made me do some thinking - for example about how architecture can influence our lives. How we should perhaps be more vocal about the urban planning that is taking place. How important it is to appreciate what we have and to be grateful for the beauty that surrounds us. 

I might have more thoughts to add for to this subject eventually. Feel free to add yours if you have any. 

Thank you for visiting! Feel free to reach out.