The traditional Dalmatian architecture of the stone houses is recognizable by the small sloping roofs with brick-colored Roman tiles (lighter and darker). Unfortunately, it is disappearing under the onslaught of new technologies and trends and copy-paste architectures, which few resist.
Traditional Dalmatian architecture is typical of many works by the famous Croatian architect Jerko Rošin, which were created during the past half-century of work in Dalmatia in the Republic of Croatia.
This is a book about his architecture. And the authors of the book, called "Arhitektonski tragovi" (eng. "Architectural traces"), describe his works as modest, considerate, rational, responsible for space, without unnecessary trendy views, because he remained principled despite numerous business troubles and their consequences.
The spine that did not "bend" in front of insatiable investors, and the consistency, stress, and years spent in the chair, left some different architectural, more painful, traces. The ones that few see and respect. Those that form a completely new image of the profession.
Looking from a distance at the sloping side of the cover we recognize a roof with typical Dalmatian Roman tiles. But as we get closer we notice images of the architect’s worn-out MR spine. They reveal the hidden and painful reality of a responsible Dalmatian architect.
It is a perceived optical illusion of the original MR image which, when placed on the cover of a book, acts like a traditional roof. The covers themselves can already be placed in the roof position. They cover and protect the book as the roof protects the house. My “only” intervention is to rotate that shot on the back of the book, relative to the cover, to make the optical illusion more consistent. It was the optical illusion that caught my attention and somehow brought the spine and architecture into correlation.
In the space, on the occasion of the promotion, the books, using the constructions constructed for the occasion, were placed in a way to visualize a group of traditional Dalmatian roofs. In this way, the books were presented in an original and unexpected way, which the audience rewarded with applause.
But, this approach in the design of the cover and the whole book is recognized by the client and the public, as one that is in line with the author's approach to the architectural profession, and which for him is a vocation, a way of life. That is why the design of the book was created without the desire to please or show the architect great. Design communicates modesty, prudence, rationality, and gives a whole new light, a new dimension of a creative but not at all simple and easy architectural profession in which, if you are responsible, behind every building there is a lot of torment, effort, stress, and suffering.