Kad jedno avangardno pozorište "Atelje 212" dobija mermernu fasadu, Šperovog "Sveta u kamenu" i estetiku čobanove zabiti, plus balvani ala Milić od Mačve sve sa čardakom, bilo je jasno da menja i namenu. Atelje 212 je najupećatljiviji primer kako su, početkom devedesetih, zabavljači boraca za "našu stvar" iskoristili priliku da unovče svoj mediokritetski talent. Razni "Umetnici" su projektovali, svirali pevali, pisali, slikali, igrali, bez ideje za ne pristajanjem na civilizacijski sunovrat svog društva. Bilo je tu i muzike, i filma, i pozorišta, ceo jedan umetnički pokret okupljen oko ideje večnog varvarizma.
Naš Bulevar nije jedini slučaj u istoriji arhitekture, i Benito Mussolini je poznat po sličnim arhitektonskom poduhvatu u Rimu. Srušio je staro jezgro grada staro dve hiljade godina da bi napravio bulevar Via della concilazione, prilaz crkvi San Pietro i po Vučurevićevom i Djilasovom receptu napravio još stariji Rim.
Mussolini and Rome
Prime Minister Benito Mussolini, who had signed the accord on behalf of the King, resurrected the idea of a grand thoroughfare symbolically connecting the Vatican to the heart of the Italian capital. To fulfil this vision, Mussolini turned to the prominent Fascist architects Marcello Piacentini and Attilio Spaccarelli. Drawing inspiration from a number of the designs submitted by Carlo Fontana, Piacentini came up with a plan that would preserve the best aspects of both the "open" and "closed" designs – a grand boulevard that would nonetheless obscure the majority of the Vatican buildings per Bernini's intentions. The vast colonnaded street would require the clearance of the whole "spina" of Borgo placed in between the Basilica and the Castle. Since the facades of the buildings lining this space did not align perfectly, in order to create the illusion of a perfectly straight causeway traffic islands would be erected along both sides, with rows of obelisks leading towards the Square, doubling as lampposts. These were also intended to reduce the effect that the funnel-shaped design would have on perspective when facing the Basilica. The wings of those buildings closest to the square would be preserved to form a propylaea, blocking the greater portion of the Vatican City from approaching visitors and framing the Square and Basilica at the head of a grand open space that would allow for easy vehicular access.
Prime Minister Benito Mussolini, who had signed the accord on behalf of the King, resurrected the idea of a grand thoroughfare symbolically connecting the Vatican to the heart of the Italian capital. To fulfil this vision, Mussolini turned to the prominent Fascist architects Marcello Piacentini and Attilio Spaccarelli. Drawing inspiration from a number of the designs submitted by Carlo Fontana, Piacentini came up with a plan that would preserve the best aspects of both the "open" and "closed" designs – a grand boulevard that would nonetheless obscure the majority of the Vatican buildings per Bernini's intentions. The vast colonnaded street would require the clearance of the whole "spina" of Borgo placed in between the Basilica and the Castle. Since the facades of the buildings lining this space did not align perfectly, in order to create the illusion of a perfectly straight causeway traffic islands would be erected along both sides, with rows of obelisks leading towards the Square, doubling as lampposts. These were also intended to reduce the effect that the funnel-shaped design would have on perspective when facing the Basilica. The wings of those buildings closest to the square would be preserved to form a propylaea, blocking the greater portion of the Vatican City from approaching visitors and framing the Square and Basilica at the head of a grand open space that would allow for easy vehicular access.
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