CENTRAL CITY PARK / NISH, SERBIA
The referent streams are analyzed and abstracted in the form of spatial lines, emphasizing the alternating rhythm of changing partitions of the inner space . . . . . The new-formed rhythm of space expresses clear attitude towards the inherited structure of the park (the principle of symmetry); the redefinition of space corrects the rigid existing texture, which is not in that sense formed as symmetrical, regarding the impulses as limited zones of influence, which are received from surrounding spaces of different kind of intensity . . . . . Towards the outer limits, the space retains expressive and determinedly shaped; towards it's inside it allows it's own multiplications . . . . . The system is formed to collect the impulses of space; it deduces them and it analyses them along it's inner coordinates; it leads them to a translated system of perception (the inner rhythm generated from the re-composed rhythm of the outer influences) . . . . . The principle of circulation of space brings in clear visual relation the space effects of imprinting, accumulation, segmenting; and all that within detected space rhythm, whose grid acts as a course for the geometrical generation of shapes . . . . . The direct motional flux is avoided, but it remained as a continual motion, rhythmically leveled to different platoes, so the square zone can figure as space of changeable pedestrian stream . . . . . by dislocating some of the contents, the clear distinction of these, now interlacing systems, is avoided.