URNOVÝ HÁJ

Urnový háj s krematóriom sa realizovali v rokoch 1967/1968 podľa projektu architekta Ferdinanda Milučkého z roku 1962/1963.
Komplex sa nachádza na západe Bratislavy, na svahoch Malých Karpát v riedkom lese.
Je navrhnutý s veľkým citom pre krajinu a aj umiestnenie architektúry do nej.
Duch severskej moderny ho spája s prírodou.
Staré duby a borovice tvoria kontrast s jeho vodorovnými líniami, umiestnenými nad lúkou na kopci.
Je to kultová stavba a jej hodnoty sú hlavne duchovné.
Patrí k najlepším dielam povojnovej architektúry na Slovensku.

Toto všetko, stvárnené zákutie prírody, priestor, architektúra, má svoju prísnu zákonitosť, svoju čistotu.
Je výrazom nesentimentálneho poňatia ľudského osudu.
Je to stále javisko kultu, ktoré má svoj jasný rituál.
Odbočíš z cesty, zastaneš a odídeš.
Vážnosť a dôstojnosť tohto diela nie je chladná, ale srdečná a vľúdna.
Les, jeho večné šumenie, ktorý všetkým preniká, všetko objíma, to bol vrúcny motív.
V tejto architektúre snáď ani nepozorujete rozdiel medzi vonkajškom a vnútrom.
Je to dielo vzácne a rýdze.
Dominik Tatarka

UNDERGROUND BOXING

Photographer Devin Yalkin's black-and-white images encapsulate not just the fight itself but the emotion of the spectators, the grit of the environment and the sensory overload of the intense situation.

Devin Yalkin first heard about underground boxing the way many legendary things are passed along-through the grapevine.
Heading out one night with a few friends, Yalkin arrived at a giant building in Manhattan’s Lower East Side. Joining a slow moving mass of people climbing a staircase, he felt the dull vibrations from the steps beneath him. “The scene was rampant,” he says. “The music was shaking the walls as if there was a subway going through the floor below us.” Yalkin had arrived.
Although he’s never boxed, the photographer was immediately drawn to the spectacle of the fights. The uncertainty of the new environment sparked a curiosity in the 30-year-old that brought him back fight after fight, and drew him in on what Yalkin considers the true essence of the underground scene: the rush.
Yalkin’s black and white images, which he began shooting in November 2010, reflect an indefinite undercurrent of the matches, encapsulating not just the fight itself but the emotion of the spectators, the grit of the environment and the sensory overload of the new situation. “These boxing matches not only inspired me to go back to documentary work, but to really experiment with long exposure methods to add to what I consider abstract elements to the photos,” he says. “My aim is to capture what I feel is the true essence of a fight by documenting the rush, sound and the chaotic feel of the environment as much as I can through my photography.”
Devin Yalkin is a New York based photographer and a recent graduate of School of Visual Arts.
(TIME)

© DEVIN YALKIN