An Army of Dormers

€100–€600

EN

          On this roof we can see a whole army of small roof windows that in our language are called badže.

          Today the word badža also has another meaning. When we say that someone is a “badža,” we usually mean a big, dangerous or rough man. However, its original meaning is much calmer and comes from architecture.

          The word derives from the Turkish baca, meaning a chimney or an opening in the roof through which smoke escapes. Over the centuries the word entered our language and changed its pronunciation, so baca became badža.

          In old houses these dormers served to bring light and ventilation into the attic space.

          On this building they are arranged in an almost perfect rhythm. Seen from above, they turn the roof into a regular network of triangles and lines — as if someone had created a geometric ornament or a huge carpet out of roof tiles.

          But what makes the photograph interesting is not only the repetition of forms.
A clear boundary between light and shadow runs through the entire composition. One half of the roof is bathed in sunlight, while the other sinks into darkness.

          This simple line divides the image into two worlds — adding tension to the rhythm of the dormers.

          That is why this roof is not just a row of attic windows.
          It is a small study of light and shadow.

          And, of course — a whole army of dormers.

SR

          Na ovom krovu vidi se čitava vojska malih krovnih prozora koje u našem jeziku zovemo badže.

          Reč badža danas ima i drugo značenje. Kada za nekoga kažemo da je „badža“, obično mislimo na krupnog, opasnog ili silovitog čoveka. Međutim, njeno prvobitno značenje je mnogo mirnije i potiče iz arhitekture.

          Reč dolazi iz turskog baca, što znači dimnjak ili otvor na krovu kroz koji izlazi dim. Tokom vekova ta reč je ušla u naš jezik i promenila izgovor, pa je baca postala badža.

          U starim kućama badže su služile da osvetle i provetre tavanski prostor.

          Na ovoj zgradi poređane su u gotovo savršenom ritmu. Gledane iz vazduha, pretvaraju krov u pravilnu mrežu trouglova i linija — kao da je neko od crepa napravio geometrijski ornament ili ogromni ćilim.

          Ali fotografiju ne čini zanimljivom samo ponavljanje oblika. Kroz čitavu kompoziciju prolazi jasna granica između svetla i senke. Jedna polovina krova je okupana suncem, dok druga tone u tamu.

          Ta jednostavna linija deli sliku na dva sveta — i daje ritmu badža dodatnu napetost.

          Zato ovaj krov nije samo niz prozora na tavanu.
          To je mala studija svetla i senke.

          I, naravno — čitava vojska badža.