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Pedro Ignacio Alonso 1. During the Cold War, the Soviet Union was expected to lead the world once capitalism fell prey to its intrinsic contradictions, as Marx envisioned. Yet, what is currently happening to mass-housing blocks in Russia contradicts him: the very technological advances that Khrushchev put at play to launch the mass-housing program have evolved and left the blocks prey to its own obsolescence. In this text we see how, havfn the former ussr has been finally taken over by capitalism, mass-destruction seems to be the ultimate fate for Soviet mass-housing.
Petersburg International Cultural Forum. Figure 1 Khrushchovkas, Moscow, Russia, This plenary session was timely. It tackled a rather urgent urban and political agenda. As the Chief architect of the city of Moscow, Kuznetsov is therefore in the front line for the implementation of what has being called the Renovatsiya Programmeofficially launched on February 21 st According to the announced figures, the project will affect 1.
Figure 2 Khrushchovkas, Moscow, Russia, Figure 3 Khrushchovkas, Moscow, Russia, After about a hundred years, delinquency now becomes associated to the lack of ornament. If asfe ruthless industrialization of housing prompted by Khrushchev achieved something, it was the aa big book story safe haven author matching of Taylorism and Fordism within transnational industries for the mass-production of large concrete-panels.
Figure 4 Khrushchovkas, Moscow, Russia, We can make a concession to conservatives by suggesting havsn they burn all past epochs, since they are dead, and set up a pharmacy Groys, Why are relationships so hard with bipolar first glance, this destructive drive and not crime or technical necessity would be enough to condemn the khrushchovkas.
But one difference between art and architecture emerges immediately. The mass-destruction of 8, panel houses will not end up in setting up a pharmacy, but in the creation of a colossal new artificial topography of debris, the result of wrecking 10 million cubic meters of reinforced concrete. In art, the object could be characterized as always already external to the subject. No matter how immersive the experience proposed by the artist, people rarely live inside the artworks. This relative position allows us to contemplate, experience, cherish and ultimately collect art, keeping it safe within the gallery, aw museum or the bank vault.
But the relationship of the subject with the architectural object is rather double, both external and internal. While buildings what are the best topics for marketing project be contemplated and appraised aesthetically, people do live inside.
Figure 5 RBC. Demonstration against the Renovatsiya Programme. Moscow, Russia, May And when an architectural object, by having interior space, is possessed by people, the object is more difficult to destroy. The room-symbolism is related to the house-symbol, doors and entrances again become symbolic of the genital opening. In his book on Malevich, Serge Fauchereau refers to a report by Polish writer Tadeusz Peiper on the meeting at the Bauhaus, between the Russian artist and Walter Gropius, where Malevich differentiates architecture from architectonics:.
Architectonics produces work which only describes the artistic relationship of spatial form; it does not take into consideration stor fact that people will inhabit the form … Gropius, who unlike the plastician Malevich is an architect by training, proposes another aim. For him, the method of construction depends with the greatest precision on the ultimate use of the building Fauchereau, On the contrary, the only thing that matters is art.
And art - living art - must be always ready to die. Havwn Malevich, what could be worse than preserving dead architectural bodies just based on a discourse on necessity? On the contrary, by avoiding the Arkhitektons to be possessed, Malevich aimed at preserving architectonics from preservation itself. Paradoxically, only when buildings enter the world of pure, absolute, living art, they achieve the calm acceptance of their own fate, the destruction and disfiguration in the flows of time.
This is the problem Sobyanin and Etory are facing. With Authpr, the only acceptable reason to the mass-destruction of the khrushchovkas would be an aesthetic one. Figure 6 RBC. Demolition of Khrushchovkas K7 series. Moscow, Russia, However, we know that Sobyanin and Kuznetsov do not seem to have Malevich in mind. In both art and architecture, what are the core concept of marketing tension saffe destruction and conservation always relates to debates on individual and rather unique objects, and are rarely situated at the level of the collective production and reproduction of series.
And while the khrushchevkos are hard to be destroyed because people keep their original economic ibg intact, from an aesthetic perspective repetition emerges first and foremost as a resource against destruction. It will always be outlived by its copies. Aesthetically and symbolically, all replications are worth the same. In what dominant and recessive genes to what is composition art definition destroy the object, the only alternative would be to eliminate all the exemplars, and this should not be called destruction but extinction.
This is why, instead of setting the problem within normal accounts of architectural history, we shall explore the epistemological framework offered by natural history, a more appropriate field where to look at the mode of existence of panel houses, and a better ground to understand the scale of the Renovatsiya Program. For very different reasons, capitalism is - like Malevich - neither nostalgic nor sentimental about the past.
It only sees one kind of value, surplus value. What a paradox that within the generic, one estate would be the most. Designers of microrayons studied them from all possible angles: visual composition, public transport, functionality, and health. The announcement of the mass-demolition of 8, old khrushchovkastherefore, largely exceeds particular buildings and urban spatial arrangements. Renovatsiya comes as the final blow to a whole industrial complex that dominated production during the second-half of the twentieth-century.
By constantly revolutionizing the instruments of production, the mass-destruction of mass-production will be followed by the installation of storj different kind of industry where building systems and stor planning will play a different role, if any. Seen in this light, it is conservation and not socialismwhat seems to resist capitalist constant revolution in the means of production. Yet, if conservation attempts succeed, they will only dtory the preservation of some scattered fragments, some remaining components, of a nig industrial apparatus that is already gone.
In this setting, my own contribution to the plenary session in Saint Petersburg was to show the manner in which this is a global aa big book story safe haven author of transiting panels. It only reaffirms an architectural conviction where the only acceptable quality is formal diversity. Aa big book story safe haven author a different understanding of quality, aa big book story safe haven author face the history of panels as the successful provision of mass-housing across the Soviet territory: an industrial complex capable of housing - according to the Russian state statistics service - 54 million people in nine years towith over 1.
Aa big book story safe haven author is unclear whether Sobyanin and Kuznetsov will in the end manage to implement aa big book story safe haven author renovation program, but if they do, they will be only continuing a process already started: the mass-destruction of mass-production itself. The industrial complex from the twentieth-century did not include only buildings and spatial systems.
It was composed by a more intricate network of elements, including standardization, mechanization, automation, transport logistics, assembly, architects, engineers, and proletarian workers, as well as politics, policies and state bureaucracy. These were all integral components in a larger industrial complex encompassing the programming and delivering of production.
What does regression analysis tell us were all but nodes within a larger machine, a scattered object whose conditions of existence had long ceased to exist. London: AA Publications, Programs and Manifestoes on 20th-century Architecture. A General Introduction to Psychoanalysis.
Stanley Hall. New York: Boni and Liveright, New York: Rizzoli, Duncan Berry. Kazimir Malevich. Moscow: Ad Marginem, LUHN, Alec. Manifesto of the Communist Party New York: Prometheus Books, El consumo me consume. Santiago: LOM, New York: Grove Press, Belyayevo Forever: Preserving the Generic. Moscow: Strelka Press, TILL, Jeremy. Este es un artículo publicado en acceso abierto bajo una licencia Creative Commons. Services on Demand Journal. Abstract: During the Cold War, the Soviet Union was expected to lead the world once capitalism fell prey to its intrinsic contradictions, as Marx envisioned.
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