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DOM Magazine No
2020 DOM magazine 04 December The Art of Books and Buildings The Cities of Tomorrow Streets were suddenly empty, and people began to flee to the countryside. The corona virus pandemic has forced us to re- think urban design, which is at the heart of this issue. From the hotly debated subject of density to London’s innovative social housing through to Berlin’s creative spaces: what will the cities of the future look like? See pages 14 to 27 PORTRAIT The setting was as elegant as one would expect from a dig- Jean-Philippe Hugron, nified French institution. In late September, the Académie Architecture Critic d’Architecture – founded in 1841, though its roots go back to pre- revolutionary France – presented its awards for this year. The Frenchman has loved buildings since The ceremony took place in the institution’s rooms next to the childhood – the taller, the better. Which Place des Vosges, the oldest of the five ‘royal squares’ of Paris, is why he lives in Paris’s skyscraper dis- situated in the heart of the French capital. The award winners trict and is intrigued by Monaco. Now he included DOM publishers-author Jean-Philippe Hugron, who has received an award from the Académie was honoured for his publications. The 38-year-old critic writes d’Architecture for his writing. for prestigious French magazines such as Architecture d’au jourd’hui and Exé as well as the German Baumeister. Text: Björn Rosen Hugron lives ten kilometres west of the Place des Vosges – and architecturally in a completely different world. -
View. Theories and Practices Ofvisual Culture
9 View. Theories and Practices of Visual Culture. title: tMitolen:umentality ephemerated author: aNuintahoSro(s:na source: Vsoieuwrc. eT:heories and Practices ofVisual Culture 9 (2015) URL: hURttLp: ://pismowidok.org/index.php/one/article/view/275/533/ publisher: Ipnusbtiltiushteero:f Literary Research of the Polish Academy of Sciences Institute of Polish Culture, University of Warsaw View. Foundation for Visual Culture Nina Sosna Monumentality ephemerated Monuments, which are generally considered visual, become the object of visual research much less frequently than any other art form. However, closer investigation shows that monuments are an interesting model or even frame of analysis. They are quite peculiar, and paradoxical objects, as they controversially combine many different kinds of things: the immaterial traits of collective imaginaries and the heavy materiality of stone or bronze, fluctuations of memory and the conservation of ideology, object and remnant, arrested past and an attempt to change the future. 1. Russia is currently going through a period of instability that is caused, not only by today's situation of an almost uncontrolled globalized world economy, but also by the transitional form of (post)socialism. There is a temporal factor that affects the very structure of the status quo. What is undergoing a noticeable change are not only the From: Yevgeniya Gershkovich, Yevgeny external conditions of existence, but also the sense of Korneev, eds., Stalin’s Imperial Style time. The “dashing 1990s” were a time to move forward - (Moscow: Trefoil Press, 2006), photo: at least, such was the general feeling. In the 2000s there Krzysztof Pijarski was a kind of break; for some, it was a moment of “looking around” and even backwards. -
TWO REGIMES, TWO UNIVERSITY CITIES Architectonic Language and Ideology in Lithuania and Portugal: 1930-1975
TWO REGIMES, TWO UNIVERSITY CITIES Architectonic language and ideology in Lithuania and Portugal: 1930-1975 Neringa Sobeščukaitė Dissertation of the Integrated Master’s Degree in Architecture supervised by Professor Nuno Alberto Leite Rodrigues Grande Department of Architecture, FCTUC, July 2013 TWO REGIMES, TWO UNIVERSITY CITIES Architectonic language and ideology in Lithuania and Portugal: 1930-1975 The author would like to thank numerous persons for their varied help, advice and encouragement, without whom research on this subject would have been impossible, if not at least much less comfortable or entertain- ing. These persons include but are not limited by colleagues from Kaunas Art Faculty of the Vilnius Academy of Fine Arts and Department of Architecture of the University of Coimbra. In particular, the author would like to thank: Miguel Godinho, Pedro Silva, João Briosa, Theresa Büscher, Monika Intaitė, Joana Orêncio, Lara Maminka Borges, Vânia Simões, Nuno Nina Martins, Magdalena Mozūraitytė, Jautra Bernotaitė, and Andrius Ropolas, for their support, and helpful hints along the way. The specificity of this work would not have been possible without the personal experience and academic for- mation in two institutions: Kaunas Art Faculty of the Vilnius Academy of Fine Arts, the university where the author finished its Bachelor degree, and Department of Architecture of the University of Coimbra, the current place of studies of the author. In this contex, the author would like to express the deepest gratitude to all pro- fessors and colleagues, for their help and support, for their brief discussions to deep, sometimes all night long conversations, that helped to feel at home, even when being half-way across the world. -
Soviet Architecture in Central Asia, 1920S-1930S
“Soviet Architecture and its National Faces ”: Soviet Architecture in Central Asia, 1920s-1930s By Anna Pronina Submitted to Central European University Department of History In partial fulfillment of the requirements for the degree of Master of Arts in Comparative History Supervisor: Professor Charles Shaw Second Reader: Professor Marsha Siefert CEU eTD Collection Budapest, Hungary 2020 Copyright Notice Copyright in the text of this thesis rests with the Author. Copies by any process, either in full or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. CEU eTD Collection ii Abstract The thesis “Soviet Architecture and its National Faces”: Soviet Architecture in Central Asia, 1920s-1930s is devoted to the various ways Soviet Central Asian architecture was imagined during the 1920s and the 1930s. Focusing on the discourses produced by different actors: architects, Soviet officials, and restorers, it examines their perception of Central Asia and the goals of Soviet architecture in the region. By taking into account the interdependence of national and architectural history, it shows a shift in perception from the united cultural region to a set of national republics with their own histories and traditions. The thesis proves that national architecture of the Soviet Union, and in Central Asia in particular, was a visible issue in public architectural discussions. Therefore, architecture played a significant role in forging national cultures in Soviet Central Asia. -
Building the Revolution. Soviet Art and Architecture, 1915
Press Dossier ”la Caixa” Social Outreach Programmes discovers at CaixaForum Madrid the art and architecture from the 1920s and 30s Building the Revolution. Soviet Art and Architecture 1915-1935 The Soviet State that emerged from the 1917 Russian Revolution fostered a new visual language aimed at building a new society based on the socialist ideal. The decade and a half that followed the Revolution was a period of intense activity and innovation in the field of the arts, particularly amongst architects, marked by the use of pure geometric forms. The new State required new types of building, from commune houses, clubs and sports facilities for the victorious proletariat, factories and power stations in order to bring ambitious plans for industrialisation to fruition, and operations centres from which to implement State policy and to broadcast propaganda, as well as such outstanding monuments as Lenin’s Mausoleum. Building the Revolution. Soviet Art and Architecture 1915-1935 illustrates one of the most exceptional periods in the history of architecture and the visual arts, one that is reflected in the engagement of such constructivist artists as Lyubov Popova and Alexander Rodchenko and and Russian architects like Konstantin Melnikov, Moisei Ginzburg and Alexander Vesnin, as well as the European architects Le Corbusier and Mendelsohn. The exhibition features some 230 works, including models, artworks (paintings and drawings) and photographs, featuring both vintage prints from the 1920s and 30s and contemporary images by the British photographer Richard Pare. Building the Revolution. Soviet Art and Architecture 1915-1935 , is organised by the Royal Academy of Arts of London in cooperation with ”la Caixa” Social Outreach Programmes and the SMCA-Costakis Collection of Thessaloniki. -
Kyiv, Ukraine: the City of Domes and Demons from the Collapse Of
Roman Adrian Roman Cybriwsky Kyiv, Ukraine is a pioneering case study of urban change from socialism to the hard edge of a market economy after the Soviet collapse. It looks in detail at the changing social geography of the city, and on critical problems such as corruption, social inequality, sex tourism, and destruction of historical ambience by greedy developers. The book is based on fieldwork and an insider’s knowledge of the city, and is engagingly written. Roman Adrian Cybriwsky is Professor of Geography and Urban Studies at Temple University in Philadelphia, USA, and former Ukraine Kyiv, Fulbright Scholar at the National University of Kyiv Mohyla Academy. He divides his time between Philadelphia, Kyiv, and Tokyo, about which he has also written books. “Roman Cybriwsky knows this city and its people, speaks their language, feels their frustrations with its opportunist and corrupt post-Soviet public figures Roman Adrian Cybriwsky who have bankrupted this land morally and economically. He has produced a rich urban ethnography stoked by embers of authorial rage.” — John Charles Western, Professor of Geography, Syracuse University, USA “Kyiv, Ukraine is an interdisciplinary tour de force: a scholarly book that is Kyiv, Ukraine also an anthropological and sociological study of Kyivites, a guide to Kyiv and its society, politics, and culture, and a journalistic investigation of the city’s darkest secrets. At this time of crisis in Ukraine, the book is indispensable.” — Alexander Motyl, Professor of Political Science, Rutgers University, USA The City of Domes and Demons “Filled with personal observations by a highly trained and intelligent urbanist, Kyiv, Ukraine is a beautiful and powerful work that reveals from the Collapse of Socialism profound truths about a city we all need to know better.” — Blair A. -
Russian Architecture
МИНИСТЕРСТВО ОБРАЗОВАНИЯ И НАУКИ РОССИЙСКОЙ ФЕДЕРАЦИИ КАЗАНСКИЙ ГОСУДАРСТВЕННЫЙ АРХИТЕКТУРНО-СТРОИТЕЛЬНЫЙ УНИВЕРСИТЕТ Кафедра иностранных языков RUSSIAN ARCHITECTURE Методические указания для студентов направлений подготовки 270100.62 «Архитектура», 270200.62 «Реставрация и реконструкция архитектурного наследия», 270300.62 «Дизайн архитектурной среды» Казань 2015 УДК 72.04:802 ББК 81.2 Англ. К64 К64 Russian architecture=Русская архитектура: Методические указания дляРусская архитектура:Методическиеуказаниядля студентов направлений подготовки 270100.62, 270200.62, 270300.62 («Архитектура», «Реставрация и реконструкция архитектурного наследия», «Дизайн архитектурной среды») / Сост. Е.Н.Коновалова- Казань:Изд-во Казанск. гос. архитект.-строит. ун-та, 2015.-22 с. Печатается по решению Редакционно-издательского совета Казанского государственного архитектурно-строительного университета Методические указания предназначены для студентов дневного отделения Института архитектуры и дизайна. Основная цель методических указаний - развить навыки самостоятельной работы над текстом по специальности. Рецензент кандидат архитектуры, доцент кафедры Проектирования зданий КГАСУ Ф.Д. Мубаракшина УДК 72.04:802 ББК 81.2 Англ. © Казанский государственный архитектурно-строительный университет © Коновалова Е.Н., 2015 2 Read the text and make the headline to each paragraph: KIEVAN’ RUS (988–1230) The medieval state of Kievan Rus'was the predecessor of Russia, Belarus and Ukraine and their respective cultures (including architecture). The great churches of Kievan Rus', built after the adoption of christianity in 988, were the first examples of monumental architecture in the East Slavic region. The architectural style of the Kievan state, which quickly established itself, was strongly influenced by Byzantine architecture. Early Eastern Orthodox churches were mainly built from wood, with their simplest form known as a cell church. Major cathedrals often featured many small domes, which has led some art historians to infer how the pagan Slavic temples may have appeared. -
4 ESTAÇÕES DE METRÔ EM MOSCOU: O Plano Nacional De Stalin
4 ESTAÇÕES DE METRÔ EM MOSCOU: o plano nacional de Stalin AUH0154 - HISTÓRIA E TEORIASO DA PLANO ARQUITETURA III VITOR T. TACAMI SHIMODA Estação Komsomolskaya. Alexey Shchusev, Alexey Dushkin, Vladimir Gelfreich. 1952. Clube dos Trabalhadores Zuev. Ilya Gosolov. 1927-1929. Estação Krasnye Vorota, primeira linha. Ivan Fomin e N. Andrikanis. 1935. Biblioteca de Likhachev. Irmãos Vesnin. 1933-1937. A RÚSSIA IMPERIAL PRÉ-REVOLUCIONÁRIA O PLANO Praça Vermelha com o Kremlin à direita, 1905. Casarão do industrialista Gustav Tarasov, Ivan Zholtovsky. 1909-1912. Casarão de Stepan Riabushinsky. Fedor Shekhtel. 1900-1902. A ATIVIDADE DE VANGUARDA A ESCOLA SUPERIOR DE ARTEO E TÉCNICA PLANO (VKHUTEMAS) Capa do catálogo de trabalhos realizados na Vkhutemas, de autoria de El Lissitzky, de 1927. A Escola Superior de Arte e Técnica (Vkhutemas) surge da união da Escola de Pintura, Arquitetura e Escultura de Moscou e da Escola Stragonov de Artes Aplicadas. Relevo de canto, seleção de materiais, ferro, alumínio. Vladimir Tatlin, 1921. Avião voando, Kazimir Malevich. 1915. Museu de Arte Moderna, Nova York. Arkhitektoniki, Kazimir Malevich. 1920. Lenin Institute of Librarianship, Ivan Leonidov. 1927. A INFLEXÃO DA PREDILEÇÃO ESTÉTICA OFICIAL O CONCURSO PARA O PROJETOO DO PLANO PALÁCIO DOS SOVIETES (1931) Projeto para a competição do Palácio dos Sovietes. Moisei Ginzburg, Gustav Gassenpflug, Solomon Lisagor. 1932. Projeto para a competição do Palácio dos Sovietes. Le Corbusier. 1931-32. Projeto para a competição para do Palácio dos Sovietes. Vladimir Gelfrelkh, Boris Iofan, Vladimir Shchuko, Sergei Merkurov. 1933. O PLANO NACIONAL DE STALIN AS ESTAÇÕES DO METRÔ DE MOSCOU (PRIMEIRA E SEGUNDA LINHAS) O PLANO Nos países capitalistas, os metrôs são simples, uniformes e austeros. -
Schusev Museum PDF.Pdf
1 MARCH 30TH UNTIL JULY 2ND 2022 CULTURAL ARCHITECTURE THE FUTURE MOSCOW 2022 EUROPEAN CULTURAL CENTRE - WHO WE ARE The European Cultural Centre is a Non-Profit organization founded by the Dutch artist Rene Rietmeyer and originates back to 2002. Today we are an ever-expanding team of diverse individuals who care about humanity, and the role that arts and culture play in the overall impact of our world. With this in mind, doing nothing is not an option. We create exhibitions, publications and organize cultural activities that explore and share in the exchange of global perspectives. With that, the ECC has established an international network of cultural organizations and partners, all with a non-profit objective. So far, the ECC has established offices in: Italy, Spain, France, but also Belgium, USA, South Africa, India, Japan and Russia with our headquarters in The Netherlands. ECC-RUSSIA To date, the European Cultural Centre has organised and hosted over 50 contemporary art, design and architecture exhibitions worldwide, hundreds of meetings, workshops, symposia and other cultural events. In addition, we publish books, catalogues, as well as quality documentational videos and we offer specific educational programs with our ECC-Academy. The ECC is a Non-Profit organization, that aims to heighten, deepen the awareness of philosophical themes in contemporary art, as well as architecture and design. In order to further expand our activities, we have established the ECC-Russia. ECC-Russia organizes large contemporary art and architecture exhibitions. Our first large architecture exhibition in Russia was titled: “Public Architecture - Future for Europe 2020”, also at the Schusev State Museum of Architecture in Moscow 2020 and it was a success. -
Regatul Romaniei
RegatulRomaniei file:///C:/Programele%20Mele/IstorieRomania1/RegatulRomaniei/Regat... Regatul României Visul unirii tuturor românilor sub un singur steag a frământat mințile conducătorilor încă din cele mai vechi timpuri, dar alianțele militare și interesele de ordin comercial nu au fost în favoarea simplificării relațiilor dintre diferitele formațiuni statale. În vechime, țările românești au negociat protecția celor două mari imperii ale romanilor, apoi începând cu secolul al XIII-lea au întreținut legături de prietenie și ajutor mutual cu Polonia și Lituania. Din secolul al XV-lea, ca state vasale Imperiului Otoman dar sub protecția directă a Hanatului Crimeei, s-a pus problema formării unui eyalat turcesc comun. Proiectul a fost însă refuzat cu dârzenie, ca urmare a divergențelor de ordin religios. Ca o soluție de compromis, sultanii au permis independența religioasă a celor trei principate, în schimbul dependenței economice. Situația de criză a intervenit o dată cu revoluția și apoi războiul de independență purtat de greci și sârbi. Sub aripa ocrotitoare a Bisericii Ortodoxe Răsăritene, creștinii din toate țările Balcanice au ridicat la început glasul, apoi armele, cerând vehement ieșirea din situația de compromis religios. Ca rezultat, boierii și dragomanii greci au fost maziliți, iar mănăstirile filiale ale celor de la Muntele Athos au fost secularizate. În urma grecilor au rămas nenumăratele lor rude născute din alianțe cu casele boierești autohtone, practic aproape toată crema boierimii. Pentru a umple vidul administrativ rămas s-a hotărât instituirea unei locotenențe domnești, ajutată de o Adunare Constituantă a fruntașilor celor două țări. În ambele principate, toate sufragiile au fost întrunite în anul 1859 de Colonelul Alexandru Ioan Cuza, cu funcția de Ministru de Război, fost deputat de Galați și fost șef al Miliției de la Dunărea de Jos. -
Ideology and Urbanism in a Flux Making Sofia Socialist in the Stalinist Period and Beyond
southeastern europe 41 (2017) 112-140 brill.com/seeu Ideology and Urbanism in a Flux Making Sofia Socialist in the Stalinist Period and Beyond Elitza Stanoeva European University Institute, Florence, Italy [email protected] Abstract The socialist reconstruction of Sofia evolved at the juncture of institution-building, for- mation of professional expertise and social engineering, framed by a party ideology in a flux that time and again revised the social mission of urbanism and the professional role of the architect. This paper first focuses on four areas of Sofia’s reconstruction that illustrate the interplay of ideology and urbanism in the Stalinist years: the endorse- ment and subsequent betrayal of Marxist guidelines for urban planning; the replica- tion of the leader cult and its prime monument, the Mausoleum; the reorganization of architects into a Soviet-style professional union; the application of the Stalinist art canon in monumental architecture. The paper then discusses how de- Stalinization affected urban planning, public architecture and architects’ professional standing. It concludes by reflecting on the post-1989 transformation of Sofia as a radical breach with socialism or a symptom of path dependence. Keywords communist ideology – socialist city – Stalinist architecture – Mausoleum – leader cult – socialist bureaucracy – de-Stalinization – post-1989 transition In 1931, Lazar Kaganovich, First Secretary of the Moscow Regional Committee of the Communist Party of the Soviet Union (cpsu), proclaimed: “Our cities became -
Teacher Exhibition Notes Imagine Moscow
TEACHER EXHIBITION NOTES IMAGINE MOSCOW 15 MARCH – 4 JUNE 2017 INTRODUCTION Drawing on rarely seen material, Imagine Moscow presents an idealistic vision of the Soviet capital that was never realised. Large- scale architectural drawings are supported by artwork, propaganda and publications from the period. Taken together, these unbuilt projects suggest an alternative reality for the city, offering a unique insight into the culture of the time. WHAT TO EXPECT Each of the six projects presented in the exhibition introduce a theme relevant to life and ideology in the Soviet Union: collectivisation, urban planning, aviation, communication, industrialisation, communal living and recreation. HIGHLIGHTS FROM THE EXHIBITION The exhibition is split into the following sections; Image: Cloud Iron by El Lissitzky Image: ElliQ by Yves Behar, CLOUD IRON – COLONISING THE SKY Fuseproject El Lissitzky’s vision of the future is not too far off of the current truth. The unbuilt monolith of a building attempted to create a horizontal skyscraper that acted as its own mini city. Offices and living spaces all existed in harmony in El Lissitzky’s attempt to address Moscow’s growing population and also it’s feudal skyline that now seemed archaic, post revolution. El Lissitzky’s vision was to colonise the sky in what he dubbed a ‘communist foundation of steel and concrete for the people of the earth’. This conquering of the skies and the recent growth in air travel can be seen in art of the period in a broad use of aeroplanes and aviation motifs and imagery. To the defence of the USSR by Valentina Kulagina (1931) makes use of the aeroplane silhouette to show Soviet dominance.