To see the other types of publications on this topic, follow the link: National socialist architecture.
Journal articles on the topic 'National socialist architecture'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'National socialist architecture.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
WEBER, FRIEDRICH, and CHARLOTTE METHUEN. "The Architecture of Faith under National Socialism: Lutheran Church Building(s) in Braunschweig, 1933–1945." Journal of Ecclesiastical History 66, no. 2 (April 2015): 340–71. http://dx.doi.org/10.1017/s0022046913002571.
Full textAbstract:
It has frequently been assumed that church building ceased after the National Socialists came to power in Germany in 1933. This article shows that it continued, and considers the reasons why this was the case. Focussing on churches built in the Church of Braunschweig between 1933 and 1936, it explores the interactions between emergent priorities for church architecture and the rhetoric of National Socialist ideology, and traces their influence on the building of new Protestant churches in Braunschweig. It examines the way in which Braunschweig Cathedral was reordered in accordance with National Socialist interests, and the ambiguity which such a reordering implied for the on-going Christian life of the congregation. It concludes that church building was widely understood to be a part of the National Socialist programme for creating employment, but was also used to emphasise the continuing role of the Church in building community. However, there is still much work to be done to investigate the ways in which churches and congregations interacted with National Socialism in their day-to-day existence.
2
Alić, Dijana, and Maryam Gusheh. "Reconciling National Narratives in Socialist Bosnia and Herzegovina: The Baščaršija Project, 1948-1953." Journal of the Society of Architectural Historians 58, no. 1 (March 1, 1999): 6–25. http://dx.doi.org/10.2307/991434.
Full textAbstract:
The emergence of modernism in post-World War II Bosnia was simultaneous with the development of the Yugoslav socialist regime and the desire to redefine the role of religion and ethnicity in the construction of a new national identity. The debate as to the relevance of the Serbian, Croatian, and Muslim national narratives to the broader universalist and secular Yugoslav agenda brought into question the cultural significance of the Bosnian built heritage. How was the existing built fabric to inform the architecture of the revolution? In this context, the work of Juraj Neidhardt, a former employee of Le Corbusier's, is significant since his seminal text, Architecture of Bosnia and the Way Toward Modernity (1957), articulates a critical link between the existing built fabric and "modern socialist" architecture. In discussing his work within the broader political context of socialist Bosnia, this paper focuses on an architectural and textual analysis of Neidhardt's proposal to turn Baščaršija, the Ottoman-established urban core of Sarajevo, into a cultural center for socialist Bosnia and Herzegovina. It is argued that the specific urban and architectural strategies Neidhardt employed were reflective of his desire to secularize the Ottoman built fabric and thereby allow a distinctly Bosnian narrative to coexist and contribute to the architecture of the socialist regime.
3
Mihai-Coman, Horia. "Socialist Content in National Form: A Guiding Principle of the "Communist Project" in Romanian Architecture." Periodica Polytechnica Architecture 51, no. 1 (March 30, 2020): 92–99. http://dx.doi.org/10.3311/ppar.14771.
Full textAbstract:
The article follows the theme of "socialist content in national form" in Romanian architecture during a period stretching from approximately 1944 to 1989 – a time interval that is usually associated with the specific political agenda that dominated society in a decisive and profound way throughout the era, which is usually indicated as "communism". This time interval can also be indicated by using other keywords and concepts, such as "socialism", "state socialism", "totalitarianism" or others, sometimes in association with the keyword "communism". For reasons that will be presented in the introduction, the title of the article will prefer the use of the term "the communist project" for indicating the chronological focus of the article; the word "project" also holds a conceptual meaning – therefore being considered appropriate in the context of a mostly conceptual discussion that the article focusses on – as it tries to examine one of the most powerful and influential key concepts of the era: "socialist content in national form".
4
Michaud, Eric, and Christopher Fox. "National Socialist Architecture as an Acceleration of Time." Critical Inquiry 19, no. 2 (January 1993): 220–33. http://dx.doi.org/10.1086/448672.
Full text
5
Popovici, Ioana Cristina. "ARCHITECTURE COMPETITIONS – A SPACE FOR POLITICAL CONTENTION. SOCIALIST ROMANIA, 1950–1956." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 1 (March 28, 2014): 24–38. http://dx.doi.org/10.3846/20297955.2014.891561.
Full textAbstract:
This is an account of the relationship between architecture and power in Romania during the Stalinist period. A cursory glance at Arhitectura – the only specialist magazine to resume publication after the change in regime – suggests compliance with political direction, and professional interest in translating the theoretical method of Socialist Realism into a specific, culturally localized architectural language. Architecture competitions are a medium of intersection between theory and practice, power and the profession, ideology and economy – a space where political contention based on professional knowledge becomes possible even in totalitarian regimes. Between 1950 and 1956, Arhitectura published several competitions which, far from reinforcing Socialist Realism as the dominant architectural discourse, exposed the method’s internal contradictions and utopianism. In the ensuing confusion, there emerged a creative, practice-based counter-discourse centered on previously hegemonic dialects (the ‘national’). Based in equal amounts on the pre-established dynamics of professional culture, and on the willingness and ability of the architecture field to speculate the rules of the political game, this counter-discourse gradually led to the dismantling of Socialist Realism into alternative readings of Socialist architecture.
6
Kozyrenko, Nataliya Efremovna. "Architecture of the Stalin Empire in China." Урбанистика, no. 4 (April 2020): 1–17. http://dx.doi.org/10.7256/2310-8673.2020.4.30248.
Full textAbstract:
The subject of this research is the formation of large city planning ensembles in socialist cities during Great Leap Forward of the People’s Republic of China. The object of this research is architecture in the style of Stalin Empire 1950s – 1960s. The author examines the influence of Soviet architecture upon the emergence of Chinese styles, such as “Style 1959” and Communist Art Deco). Special attention is dedicated to stylistic peculiarities of the new architectural objects and Chinese interpretation of the Stalin Empire. In this context, both Chinese and Soviet architects contributed to determination of the architectural trend “Su-style”. The main conclusion lies in the statement that architecture of the Stalin Empire with the elements of classicism became the national style in socialist China. Chinese architects synthesized the new normative aesthetics and discovered new stylistic and imagery resources in architecture. The transition towards holistic Chinese “socialist culture” has not been completed and currently continues. The author’s special contribution is the research of socialist architecture of Harbin as a continuity of Russian traditions of the early XX century. The novelty of this work is defined by the first ever analysis of stylistic peculiarities of Harbin’s architecture that were built by the projects of Soviet architects.
7
Stanek, Łukasz. "Architects from Socialist Countries in Ghana (1957–67)." Journal of the Society of Architectural Historians 74, no. 4 (December 1, 2015): 416–42. http://dx.doi.org/10.1525/jsah.2015.74.4.416.
Full textAbstract:
Architects from Socialist Countries in Ghana (1957–67): Modern Architecture and Mondialisation discusses the architectural production of the Ghana National Construction Corporation (GNCC), a state agency responsible for building and infrastructure programs during Ghana’s first decade of independence. Łukasz Stanek reviews the work of GNCC architects within the networks that intersected in 1960s Accra, including competing networks of global cooperation: U.S.-based economic institutions, the British Commonwealth, technical assistance from socialist countries, support programs from the United Nations, and collaboration within the Non-Aligned Movement. His analysis of labor conditions within the GNCC reveals a negotiation between Cold War antagonisms and a shared culture of modern architecture that was instrumental in the reorganization of the everyday within categories of postindependence modernization. Drawing on previously unexplored materials from archives in Ghana, Bulgaria, Croatia, Hungary, Poland, the United Kingdom, and the United States, the article reveals the role of architects from European socialist countries in the urbanization of West Africa and their contribution to modern architecture’s becoming a worldwide phenomenon.
8
Ryu, Seung-Ju. "Socialist Construction and National Culture Inheritance: North Korea in the 1950s." Korea Association of World History and Culture 64 (September 30, 2022): 53–84. http://dx.doi.org/10.32961/jwhc.2022.09.64.53.
Full textAbstract:
The policy of inheritance and development of national cultural heritage has been a consistent policy of North Korea after the Liberation. In the early 1950s, North Korea needed internal integration and mobilization of internal resources in order to reorganize the Workers’ Party and the state system and to carry out post war reconstruction projects. Accordingly, the importance of national cultural heritage was further emphasized in terms of both ideology and practical use. In 1955, Kim Il-sung directed the establishment of ‘Juche’ based on the National Cultural Tradition and the Anti-Japanese Revolutionary Tradition. After the policy of socialist construction was fixed at the 3rd Congress of the Workers’Party of Korea in 1956, the project to inherit national cultural heritage was carried out with the goal of socialist construction. In particular, the advanced and reforming aspects were rediscovered in Silhak ideology. North Korea justified its radical socialization path through the ideology of Silhak. On the other hand, national cultural heritage in each sector, such as traditional science, architecture, weaponry, medicine, crafts, musical instruments, and clothing, was directly utilized and applied to the construction of socialism in North Korea as socio-economic resources, and it was closely related to the lives of the residents. Inheriting the tradition and realizing it in the present era was the realization of Juche, and it contained the orientation of the people's sovereignty in the sense that the people enjoy the nation’s treasures. Through the inheritance of national cultural heritage, North Korea’s socialist construction was ideologically reversed and utilized practically. In this way, North Korean socialism and national cultural traditions were closely related, and thus the nationalistic character took root in the North Korean socialist system.(University of North Korean Studies)
9
Colla, Marcus. "Postmodern Architecture in Socialist Poland: Transformation, Symbolic Form and National Identity." Journal of Architecture 27, no. 2-3 (April 3, 2022): 468–71. http://dx.doi.org/10.1080/13602365.2022.2126158.
Full text
10
Pugh, Emily. "From “National Style” to “Rationalized Construction”." Journal of the Society of Architectural Historians 74, no. 1 (March 1, 2015): 87–108. http://dx.doi.org/10.1525/jsah.2015.74.1.87.
Full textAbstract:
From “National Style” to “Rationalized Construction”: Mass-Produced Housing, Style, and Architectural Discourse in the East German Journal Deutsche Architektur, 1956–1964 examines architectural critique of housing and style as it unfolded in the East German journal Deutsche Architektur (German architecture) from the late 1950s to the mid-1960s. Through an analysis of articles published in the journal as well as primary source documents, Emily Pugh investigates the reception of newly built housing developments in East Germany by a group of influential socialist architects, historians, and critics who were then writing for Deutsche Architektur. Pugh highlights individual architects’ attempts to subvert or resist the control of state and party authorities and considers how these individuals’ efforts might have influenced the development of the East German building economy. She also argues that these architects’ understanding of architectural modernism differed from that of their counterparts in the Cold War West, having been influenced by political and economic circumstances specific to East Germany.
11
Zivancevic, Jelena. "Soviet in content - people’s in form: The building of Farming Cooperative Centres and the Soviet-Yugoslav dispute, 1948-1950." Spatium, no. 25 (2011): 39–49. http://dx.doi.org/10.2298/spat1125039z.
Full textAbstract:
It was not until 1948, when the Cominform conflict escalated, that the Communist Party of Yugoslavia began a thorough implementation of the Soviet model in Yugoslav agriculture - due to the Soviet criticism, the CPY made immediate legislative changes and started a class struggle in Yugoslav villages. Simultaneously, and just a few months before the Fifth Congress, Josip Broz Tito initiated a competition for building 4,000 Farming Cooperative Centres throughout Yugoslavia - they were built in accordance with the social-realist ?national in form - socialist in content? slogan. Once the building started, in his Congress speech, Radovan Zogovic, a leader of the Serbian Agitprop department, offered the first official proclamation of Socialist Realism in the post-war period by a political authority. This article analyses the process of planning, designing and building of the Farming Cooperative Centres; discusses their political, ideological and formal implications; and inquires into the specific role of architecture, joined with the theory of Socialist Realism, in building Yugoslav socialism.
12
Czapelski, Marek. "Towards Socialist Architecture: Architectural Exhibitions at the Zachęta in the Years 1950–1955." Ikonotheka 26 (June 26, 2017): 31–61. http://dx.doi.org/10.5604/01.3001.0010.1672.
Full textAbstract:
Exhibitions of contemporary designs accompanied by their public criticism and assessment by a commission were meant to be a tool in implementing Socrealism in Polish architecture – a process which had been announced in 1949. The First National Exposition of Architectural Design (OPA, 22 January – 28 February 1951), housed in the Zachęta – National Gallery of Art building in Warsaw, was one of the most widely advertised events of this kind. Its discussion exposes the peculiar atmosphere of these events, the strategies of persuasion and instruction as employed by the organisers in relation to ideological and aesthetic issues, and the reactions of the architects participating in the debates, who generally tried to avoid the aggressive tone of the polemic. In addition, the primacy of technocratic economics, which was later to become one of the key elements of policies concerning the construction industry in the People’s Republic of Poland, was fi rst revealed at the OPA, if only still in the background. The exhibition at the Zachęta, treated as a production meeting in progress, was to be a preparatory stage for a sweeping exhibition that would present an all-inclusive vision of both historical and contemporary Polish architecture. Such an event accorded with the universal schemata of rituals of social life structured in keeping in line with Stalinism, but the path to the First General Exhibition of Architecture in the People’s Republic of Poland (PWA, 8 March – 22 April 1953) turned out not to be easy. Problems concerning its fi nancing and venue, as well as the lack of political support, resulted in its opening, in the Zachęta building, soon after Stalin’s death. In general, the exhibition’s arrangement followed regional divisions, i.e. both the historical and contemporary material were arranged according to region. An analysis of this plan reveals that it was profoundly ill-suited to the realities of producing architecture in the state-owned design offi ces when the emphasis on typicality was increasing. The initial stage of the critique of Socrealism is also inseparably linked with the PWA; the essay appraising the exhibited designs as delivered at the First National Council of Architects in April 1953 must be considered the fi rst text of this kind. Both the OPA and the PWA are, above all, reminders of the practice of institutional coercion and of the ideological approach to history that were typical of Stalinism. At the same time, however, it should not be forgotten that the exhibition of 1953 resulted in the publication of a series of valuable publications concerning history and art, while the Regional Architectural Shows, instituted in order to select designs to be exhibited at the PWA, evolved into recurring events which in some centres are still organised today.
13
MATTL, SIEGFRIED. "THE AMBIVALENCE OF MODERNISM FROM THE WEIMAR REPUBLIC TO NATIONAL SOCIALISM AND RED VIENNA." Modern Intellectual History 6, no. 1 (April 2009): 223–34. http://dx.doi.org/10.1017/s1479244308002011.
Full textAbstract:
Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich (1974), which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, corresponded to political tendencies and reflected the traditional divide between conservatism and progressivism. But those boundaries have become blurred in the wake of more recent research, which has demonstrated the involvement of modernist artists in Nazi art (e.g. members of the Bauhaus involved in National Socialist architecture or avant-garde filmmakers such as Walter Ruttmann in National Socialist propaganda films) and, conversely, the continual performance of popular jazz music in the Third Reich (e.g. in radio programmes). Seen against such instances of modernist collaboration and its own occasional mimicry of modernism, National Socialism acquires a more ambivalent profile, characterized by the ongoing conflict between reactionary factions and those who favoured modernization for various reasons.
14
Sharova, Veronika. "Post-socialist city: the visual experience of everyday life as a factor of nation-building." Polylogos 6, no. 1 (19) (2022): 0. http://dx.doi.org/10.18254/s258770110018979-8.
Full textAbstract:
The collapse of the so-called "socialist bloc" of states at the turn of the 1980-1990s. raised, among other things, the question of the formation and / or reformatting of national, regional and local identities in Central and Eastern Europe. This question turned out to be relevant in the context of rethinking the image of a post-socialist city. In this article, we plan to address a number of aspects of processes and practices related to architecture and cultural heritage policy, urban planning and identity in the post-socialist city. Warsaw, Budapest, Prague, Bratislava, cities of the former GDR and others, which developed for several decades under the conditions of the socialist (with all possible remarks) regime, at the new stage retained a number of visual features that referred to the socialist past. The surviving monuments, elements of toponymy, urban space planning, recognizable buildings (such as, for example, the Palace of Culture and Science in Warsaw), on the one hand, create a common space of historical memory in the region of Central and Eastern Europe; on the other hand, the new nationalizing projects of post-socialist societies have set and are setting the contours of singularity, national and local selfness, redefining the political and cultural maps of cities. While exploring the city as a political text, we plan to take a closer look at how the visual experience of everyday life influences the formation of post-socialist national identity and determines the commemorating practices of residents of such cities.
15
Faraldo, José M. "Medieval Socialist Artefacts: Architecture and Discourses of National Identity in Provincial Poland, 1945–1960." Nationalities Papers 29, no. 4 (December 2001): 605–32. http://dx.doi.org/10.1080/00905990120102110.
Full textAbstract:
Many things allow us to recognize that the Poles have a greater and fuller affinity with the Poznań Land than the Germans, even today. It is interesting, for example, with what confidence Polish architects, in contrast to their German counterparts, incorporate historical and regional characteristics in their designs.Moritz JafféThe Archive of the Town Curator of Monuments in the Polish city Poznań contains material about streets, monuments, Old Town Square, the cathedral, and other valuable constructions there. A folder labeled Nowy Ratusz (New Town Hall) attracted my attention, because I knew nothing about such a building. The folder contained photographs of a large neo-Gothic building. It looked like a typical Prussian public building, similar to hundreds of other postal, school, and government offices throughout the Prussian/German state. But what of this building? Had it been another casualty of the Second World War? The postwar images showed, that although seriously damaged, the building still stood in the ruins of the Old Town Square.
16
Kal, Elżbieta. "“Sprawa realizmu w plastyce kształtującej”. Design i jego krytyka wobec realizmu socjalistycznego." Załącznik Kulturoznawczy, no. 6 (2019): 121–54. http://dx.doi.org/10.21697/zk.2019.6.06.
Full textAbstract:
This text concerns itself with Polish design and its criticism in the period of socialist realism (1949/50–1955). The title refers to a terminological proposal by Janusz Bogucki who looked for new terms for his work in the new system. The division into ‘pure’ and ‘usable’ arts was considered as an anachronism in socialism in which all artistic fields were to fulfil social functions. As optimal, the critic considered a division of arts into the ‘imaging’ (painting, sculpture, and graphic) and ‘formative’ (shaping human surroundings and public space – architecture, decoration and interior fittings, and objects of everyday usage). An intermediate ‘semi-imaging’ form was, for example, represented with a fabric or scenography. Bogucki defined the realism of a masterpiece as something that reflects reality by the use of means other than an image – it shapes and expresses reality. By avoiding unwanted associations with functionalism or constructivism, he showed ‘realistic’ features of objects and things: perspicuity, simplicity of composition, purposefulness and the appropriate usage of material and tools, breaking away from the pre-war ornamentation and avant-garde restraint of shapes. Masterpieces of ‘formative’ art were to fulfil the postulate of a national form; hence, the inspiration with a native tradition, folk art and handcraft was recommended. Crucial propagandistic slogans concerned popularization and ‘democratization’ of art connected with both creation and reception; industrial production pursuant to the models of professional artists as well as the working class, and folk and teen ‘collectives’ managed by them. Chosen institutions served popularization and democratization of socialist art. The 1952 Exhibition of Interior Architecture and Decorative Art and especially the criticism linked with it, regarding the assumptions of socialist realism and gradual abandoning the criteria of the doctrine from around 1954, are presented in this text. Reckoning with the method: during the public thaw (1956–1957), when categories of realism and national form were replaced with the imperative of modernity, constitutes a recapitulation.
17
Ignjatović, Aleksandar. "Legacy of the triad: Architecture in medieval Serbia between style and ideology in the work of Aleksandar Deroko." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 115–40. http://dx.doi.org/10.5937/saj1901115i.
Full textAbstract:
Despite criticism that has been leveled against Gabriel Millet's well-known tripartite subdivision of architecture of medieval Serbia into three distinct 'schools', its scholarly authority still remains largely unchallenged. Yet what is believed to have stemmed from Millet's ingenious research was inextricably linked with the ideological project of Serbian national emancipation during the first decades of the twentieth century. His stylistic triad of L'école de Rascie, L'école de la Serbie Byzantine and L'école de la Morava had an unexpectedly vivid and profound afterlife in the entirely new context of socialist Yugoslavia - in terms of both scholarship and ideological resonance. Its main proponent was Serbian architectural historian Aleksandar Deroko, whose book entitled Monumental and Decorative Architecture in Medieval Serbia apparently only reiterated the existing subdivision of medieval architecture by simply changing the word 'schools' into 'groups'. Nevertheless, a closer look at three successive editions of the book published in 1953, 1962 and 1985 reveals a series of Deroko's encounters with the Milletian framework, suggesting that his enterprise can be seen as instrumental to the ideological re-appropriation of medieval heritage in the context of the national question in Yugoslavia.
18
Zhu, Jianfei. "The cartographic and the geopolitical: advocating a new agenda in architectural thinking and research." Architectural Research Quarterly 21, no. 4 (December 2017): 383–86. http://dx.doi.org/10.1017/s1359135517000537.
Full textAbstract:
Today, there is an increasing use of terms such as ‘transnational architecture’, ‘architecture beyond Europe’, ‘architecture of China, Japan and Korea’, ‘China in Africa’ and ‘Socialist architecture in Africa’. This signals a change in the basic outlook in thinking and research around architecture towards a problematic concerning geography and geopolitical relations. Michel Foucault, as early as 1967, had already said that ‘history’ was being replaced by ‘geography’, and a historical outlook on an endless timeline was being replaced by a new awareness of a finite world, of a world geography, of things happening ‘here and there’, of space and place, and of a ‘network’ we were all located within (in a speech published later as ‘Of Other Spaces: Principles of Heterotopia’).13 My contention is that, due to many factors, today more than any other time, a world-historical paradigm in architectural research is being replaced, or at least radically reformed, by a new one that methodologically privileges local and material happenings as horizontally connected to other sites and happenings, in a networked geographic spread: it involves a cartographic perspective that challenges endogenous, national and formalist categories.
19
Palonen, Emilia. "Millennial politics of architecture: Myths and nationhood in Budapest." Nationalities Papers 41, no. 4 (July 2013): 536–51. http://dx.doi.org/10.1080/00905992.2012.743509.
Full textAbstract:
Politics in Hungary since 1989 has been focusing on nation-building. Each government has had a license to articulate what it is to be Hungarian, in the public realm with public funds. While current political debates are heated and focus yet again on defining Hungarian national identity, this article takes a distance from contemporary politics. It studies a situation ten years earlier, when the current government party Fidesz -which took a landslide victory in the 2010 general elections after eight years of socialist-liberal government - was in office for the first time from 1998 to 2002. Exploring the debate from the perspective of architecture, it reveals how Fidesz sought to mark their space and express their sense of nationhood in Budapest around the millennium. Beside publicly sponsored institutions and commemoration, architectural forms became contested as they were used to express nationality. The National Theatre, Millennium Park and House of Terror Museum, each broke with the urban flow in the left-leaning metropolis while representing the Fidesz discourse on Hungary. The article, besides analyzing postcommunist nation-building, reflects on the interconnection between architecture, politics and memory in an urban symbolic landscape. It discusses how myths of nationhood can be represented in the cityscape.
20
Heckner, Elke. "Fascism and its Afterlife in Architecture." Museum and Society 14, no. 3 (June 9, 2017): 363–81. http://dx.doi.org/10.29311/mas.v14i3.651.
Full textAbstract:
The recent opening to the public of large-scale National Socialist installations in Germany – like the Denkort Bunker “Valentin” in Bremen-Farge – has prompted questions on how to address the legacy of Nazi advances in science and technology in musealized spaces, and, more generally, how to curate inconvenient military history. To tackle these questions, the issue of affect is crucial. Curation must be able to confront articulations of right-wing extremist “reactionary” affect in and beyond the museum setting. This has been a challenge for Dresden’s newly redesigned Militärhistorisches Museum der Bundeswehr, whose anti-militaristic message is being drowned out by right-wing xenophobic demonstrations in Dresden’s streets. This paper seeks to counter current curatorial strategies that displace and suppress affect. By considering affect’s productive potential without ignoring the record of Nazi manipulations of affect, it proposes the concept of an ‘upstander’ museum and delineates a new methodology for rethinking affect in curatorial settings.
21
Harrington, Selma, Branka Dimitrijević, and Ashraf Salama. "Cracks and Light: Observing the Resilience of the History Museum of Bosnia and Herzegovina." Martor. The Museum of the Romanian Peasant Anthropology Review 23 (November 15, 2018): 143–61. http://dx.doi.org/10.57225/martor.2018.23.08.
Full textAbstract:
Among the seven national institutions of the former socialist Yugoslav period that appear to have been assigned to the category of ‘contested’ and ‘unwanted’ heritage, the History Museum of Bosnia and Herzegovina stands out. Originally built as a Museum of Revolution, it bears a legacy of a specific identity and cultural narrative developed in the socialist period, which has been projected in the architecture displaying the hallmarks of early Modernism. Even though the Museum was listed as a national monument by the Commission to Preserve National Monuments in 2012, the building is in an alarmingly advanced state of disrepair, with little indication that such trend will be reversed any time soon.The paper firstly discusses the Museum in the context of current international developments and the aspects related to museum architecture. Secondly, the Museum is observed through a critical heritage lens and within phenomena of a deliberate destruction of heritage in Bosnia and Herzegovina. Since 2003 the Museum has a permanent exhibition The Besieged Sarajevo, illustrating the practical modes of survival during the 1990s war, consisting of artefacts donated by citizens. Other exhibition themes, ranging from the labour movement traditions, the legacy of World War I, life in former Yugoslavia, the Dayton Peace Agreement mapping, and The Obliteration of Cultural Heritage project, posit critical questions for and about the contemporary society in Bosnia and Herzegovina. This work combines two disciplinary fields, architecture and public history, to inquire into selected contemporary activities of the Museum. Its resilience is viewed as representative, symbolic, and symptomatic of an over-reaching cultural, political, and economic condition in the country.
22
Neilson, David. "Reversing the catastrophe of neoliberal-led global capitalism in the time of coronavirus: Towards a democratic socialist alternative." Capital & Class 45, no. 2 (March 7, 2021): 191–213. http://dx.doi.org/10.1177/0309816821997114.
Full textAbstract:
This article first outlines key arguments that demonstrate how the ‘neoliberal model of development’s’ global unleashing of capital is leading human civilisation to the brink of collapse. This ‘intellectual pessimism’ informs the ‘optimistic will’ central to the second part of this article which outlines an alternative democratic socialist model of development. This alternative is founded on a project of global cooperation to construct a national-trans-national regulatory architecture that can facilitate an ecologically balanced, materially secure, flexible and democratically solidaristic collection of local accumulation regimes that in aggregate would comprise a sustainable, progressive and pandemic-preventing planetary mode of accumulation.
23
Kukina, Irina, and Irina Fedchenko. "Alternatives of ideologemes: Socialist and social city." проект байкал 19, no. 74 (January 5, 2023): 72–77. http://dx.doi.org/10.51461/pb.74.14.
Full textAbstract:
The article studies the content of the criteria of the versions of the “socialist” and “social” city. Drawing on the examples of micro-districts implemented at the beginning of the XXI century, the article analyses a modern alternative to mass housing construction, which is gaining strength as a result of the implementation of national programs and changes in the Land an Urban Planning Codes. For the factual description of the state of the environment in the contemporary districts of Krasnoyarsk, the authors use graphic-analytical and urban morphological research methods. Fundamental approaches to the regulation of living environment are substantiated. The conclusion is made about the further development of the study.
24
Harris-Brandts, Suzanne. "The role of architecture in the Republic of Georgia's European aspirations." Nationalities Papers 46, no. 6 (November 2018): 1118–35. http://dx.doi.org/10.1080/00905992.2018.1488827.
Full textAbstract:
Alignment with Europe has been a popular foreign policy objective among post-socialist nations. In the Republic of Georgia, discourse surrounding the country's Euro-Atlantic orientation surged in the decade after the 2003 Rose Revolution. While such discourse has been examined in the context of political reforms and national security goals, this article foregrounds how it was incorporated into alterations of the built environment. Focusing on the urban transformations of the city of Batumi after the rise to power of the United National Movement government, it demonstrates how architecture served as a tool for selectively rewriting Georgia's contemporary European identity. This article concentrates on two parallel initiatives to transform Batumi into a contemporary European city: the reconstruction of portions of the Old City and the new development along the seaside boulevard. Using evidence collected through qualitative methods, it further highlights the contradictions that emerged during this process of redevelopment and rebranding, as the state balanced initiatives for new development with other post-revolutionary state-building objectives, such as political reform and tourism-market production. Accordingly, it unpacks the various national and international politico-economic forces at play in the process of developing Batumi into the image of a contemporary European city.
25
Čepaitienė, Rasa. "IN THE SHADOW OF MOSCOW: THE STALINIST RECONSTRUCTION OF THE CAPITALS OF THE SOVIET REPUBLICS." Journal of Architecture and Urbanism 39, no. 1 (April 14, 2015): 3–16. http://dx.doi.org/10.3846/20297955.2015.1031434.
Full textAbstract:
Looking through the prism of USSR national policy the article analyzes the reconstruction of Stalinist cities. The study is based on the visual analysis of the city landscapes of the capitals of 12 of 15 former Soviet republics. Focusing attention on the mechanisms and tools of the formation of the capitals of the Soviet republics, the strategies and tactics of the reconstructions carried out in these cities are discussed. As their result in the late period of Stalinist culture the creation of an ideological-visual narrative of a major Soviet city, consisting of a united “content of socialist realism” and local “national forms”, was completed. The conclusion is made is that mainly using plant and geometric ornaments of local folk art in the decor of the buildings of the socialist realism style, these capitals were “marked” in a specific way. However, although this aesthetic program allowed one to distinguish visibly these cities from one another, and to highlight some of the features of national cultures, however, the fostering of such narrowly understood and apolitical “folk character” at the same time restricted the possibilities of the Soviet connected nations to keep the abilities to preserve free and uncontrolled authentic expression of their cultures.
26
Prica, Vladana Putnik, and Nenad Lajbenšperger. "On the wings of modernity: WWII memorials in Yugoslavia." An Eastern Europe Vision, no. 59 (2018): 74–78. http://dx.doi.org/10.52200/59.a.8qpzrs1o.
Full textAbstract:
Memorial sites dedicated to the National Liberation War, revolution and the victims of fascism have played an important role in the cultural and political life of the socialist Yugoslavia. The changing political course of Yugoslavia from 1948 influenced its cultural strategy. This reflected the artists’ sensibility and tendency towards abstract sculpture, which culminated during the 1960s and 1970s. In this essay we will examine the influx of modern art and architecture on the aesthetics of the memorials from the era. We will also focus on their contemporary representation as an important part of cultural heritage.
27
van Pelt, Robert Jan. "Review: Presenting Difficult Pasts Through Architecture: Converting National Socialist Sites to Documentation Centers, by Rumiko Handa." Public Historian 43, no. 4 (November 1, 2021): 153–55. http://dx.doi.org/10.1525/tph.2021.43.4.153.
Full text
28
Pahl‐Weber, Elke, and Dirk Schubert. "Myth and reality in national socialist town planning and architecture: Housing and urban development in Hamburg, 1933–45." Planning Perspectives 6, no. 2 (May 1991): 161–88. http://dx.doi.org/10.1080/02665439108725725.
Full text
29
Domenech, Daniel. "The National Revolution Architecture: Rooted Modernism in the Spanish New State (1939–1959)." Fascism 7, no. 2 (October 17, 2018): 213–40. http://dx.doi.org/10.1163/22116257-00702004.
Full textAbstract:
Francoism was the product of the sum of all the heterogeneous forces of anti-liberal right, from the most radical fascists to Christian traditionalists even further to the conservative right than the Monarchists and the Carlists, and as a result their architectural response to the problem of rebuilding Spanish society following the Civil war could not be unitary either. Each school of thought, each situation to be solved, and each architect generated a different solution, and as a result we find a wide variety of architectural works in Francoist Spain. Rather than revisit the topics studied in multiple works since the seventies, this article will focus the research on typologies that have hardly received any attention, namely constructions of marked ideological and propagandistic character, such as the monolithic monuments dedicated to the Fallen, the reconstructions of ‘mythological’ places for the discourse of the first Francoism, and the production of monumental civic buildings, such as the Universities of Labor. The core issue to be resolved is whether some cultural discourses under Francoism constructed the new regime as pioneering a modernizing national revolution, rather than installing a reactionary counterrevolution, and whether the architectural works that resulted in fact present outstanding elements of modernity that had nothing to envy, in their physical scale, radicalism of design, and futural temporality, those of National Socialist Germany or Mussolini’s Italy. Such a kinship suggests that many buildings of right wing regimes, at least in Spain, in the first half of the twentieth century should be considered as belonging organically to the fascist era, even if the regimes that promoted or hosted them were not technically fascist in a strict political and ideological sense, a kinship expressed in their ‘rooted modernism’.
30
Diener, Alexander C., and Joshua Hagen. "City of felt and concrete: Negotiating cultural hybridity in Mongolia's capital of Ulaanbaatar." Nationalities Papers 41, no. 4 (July 2013): 622–50. http://dx.doi.org/10.1080/00905992.2012.743513.
Full textAbstract:
Capital cities play an integral role in the construction of national identity. This is particularly true when the capital is the country's only major urban center. Over the course of its history, Mongolia's capital of Ulaanbaatar has been periodically reshaped to reflect competing trajectories of national culture. This article examines the evolving symbolism of architecture, urban design, and public space in Ulaanbaatar as a means of exploring Mongolia's complex negotiation between its traditional culture (mobile pastoralism and Shamanism/Buddhism), its socialist legacy, and globalization. Amidst the rampant social change of the last two decades, rather ambiguous national narratives have emerged in Mongolia. Like the capital's cityscape, these narratives reflect aspects of both recent and distant pasts, as well as contemporary economic, political, and social realities. This article reveals how increasingly palpable global economic and cultural practices are fomenting material change in the current phase of Ulaanbaatar's evolution. A combination of secondary source research and observations drawn from several months of fieldwork provide the basis for a discussion of the city's role as a forum for cultural contestation and national reform.
31
Kutsevych, Vadym. "THE VERSATILITY OF CREATIVITY V. G. ZABOLOTNY (TO THE 120TH ANNIVERSARY OF THE BIRTH)." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 23–32. http://dx.doi.org/10.33838/naoma.28.2019.23-32.
Full textAbstract:
The architecture of Ukraine of the 20s — the beginning of the 30s of the XXth century was characterized by the search for the national originality of forms based on the understanding of the merits of Ukrainian baroque and folk architecture, a further workshop of the interpretation of the classicism techniques and the receipt of the marked revolutionary romance of architecture.In the 1930s, the stylistic orientation of the architecture of the former USSR and its component part of Ukraine was replaced by directive decrees and the Decree of the Central Committee of the CPSU (b) “On the restructuring of literary and artistic organizations” (1932), created unions of writers, composers and architects. The resulting policy orientation on classical patterns as the basis of the creative method of socialist realism has become a phenomenon inherent in totalitarian regimes.The article discusses the many facets of the creative activity of V.G. Zabolotny, as an architect, scientist and educator, public figure, founder of the Ukrainian school of architecture, founder and president of the Academy of Architecture of the former USSR. The main stages of the work of the architect in the context of the history of the formation and development of Ukrainian architecture of the 30–60-ies of XX century are analyzed.One of the significant creative achievements of V. G. Zabolotny was the fruitful activity in the Academy Architecture of the USSR, which he created, it was discontinued in 1963. In 1992, it was reborn as a public organization — the Ukrainian Academy of Architecture (UAA), called to life by the new socio-economic conditions of the country's development. The UAA revival, continuing the tradition the Academy of Architecture, created byV. G. Zabolotny, makes a significant contribution to the development of Ukrainian architecture as one of the components of Ukrainian national culture.The materials on the multifaceted activity of V.G. Zabolotny presented in the article will contribute to the development of scientific researches on the history and theory architecture of Ukraine in the last century.
32
Zhao, Mingming, Jun Liang, and Shanquan Lu. "Cultural Connotation and Image Dissemination of Ancient Villages under the Environment of Ecological Civilization: A Case Study of Huizhou Ancient Villages." Journal of Environmental and Public Health 2022 (August 26, 2022): 1–9. http://dx.doi.org/10.1155/2022/7401144.
Full textAbstract:
Ecological civilization refers to the sum of the material production and consumption mode, social organization and management system, values and ethics, and resource development and environmental influence mode between man and nature created in the practice of transforming nature, adapting to nature, conserving nature, and savoring nature. The construction of ecological civilization is an important part of the realization of the new rural construction goal of “production development, well-off life, civilized village customs, clean village appearance, and democratic management.” With the comprehensive promotion of the construction of a new socialist countryside in China, the ancient villages, as the source foundation of Chinese national culture and the real record of historical information, have become an urgent and severe topic for the current village renovation and protection. This article studies the architectural modeling, village layout, space, color application, and other aspects of ancient Huizhou village architecture, appreciates some elements of form aesthetics, and explores its rich content in modern society, cultural background, and economic conditions. At the same time, starting from the architectural characteristics of ancient Huizhou villages, integrate and understand the characteristics of village layout, architectural shape, and space color application in Huizhou traditional ancient village architecture, and analyze the harmonious beauty, overall beauty, nature, and coordination covered in Huizhou traditional ancient village architecture beauty and other beautiful features. To study the architectural shape, village layout, space, and color application in Huizhou's ancient village buildings, appreciate some elements of morphological aesthetics, and explore its rich content contained in modern society, cultural background, and economic conditions. At the same time, starting from the architectural characteristics of Huizhou ancient villages, we can integrate and understand the characteristics of village layout, architectural shape, and spatial color application in Huizhou traditional ancient villages, and analyze the characteristics of harmony, overall beauty, nature, and coordinated beauty covered in the architecture of Huizhou traditional ancient villages. This study is of great practical significance to promote the comprehensive improvement and protection of historical buildings, traditional residential communities, historical features, and surrounding ecological environment in ancient villages, and to realize the unity of ecology and civilization, efficiency and energy saving, healthy and sustainable development of ancient villages.
33
Dremaite, Marija. "Symbolic Geographies, Nordic Inspirations, and Baltic Identities." Architectural Research in Finland 4, no. 1 (August 11, 2021): 21–35. http://dx.doi.org/10.37457/arf.84565.
Full textAbstract:
"In Finland we really felt architecture", Lithuanian architect Vytautas Čekanauskas used to say remembering his first study trip to Finland in 1959. Impact of Nordic design is often emphasised when discussing Baltic design of the State Socialist period. When new residential districts in the 1960s were built among the trees in existing pine forests, as happened in Āgenskalna Priedesin Riga, Mustamäe in Tallinn, and Lazdynai in Vilnius, then Tapiola in Helsinki was most often cited as inspiration. Indeed, as opportunities for tourist travel and foreign exchange programs increased in the late 1950s, the Soviet Architects' Association began to organize professional delegations that included several representatives from each of the Baltic republics, dispatched on fact-finding missions to Finland. But why Nordic concept of regionalism became so important in the formation of the Baltic post-war modernism ? In the paper it is argued, that Finnish modern architecture, that was experienced at first hand during the study trips, was perceived as an acceptable model for the Baltic architects who wished to belong to the international community of modern architecture, yet retaining a national idiom and being distinctive within the USSR.
34
Kossel, Elmar. "Das »Haus aus Glas« und sein langer Schatten." Architectura 49, no. 2 (February 1, 2019): 194–221. http://dx.doi.org/10.1515/atc-2019-2004.
Full textAbstract:
Abstract Using examples from the period of Italian fascism and the National Socialist era in Germany, the relationship of modernism and modern architects to power is examined. The focus is on the changing and in part contradictory connotations to which modernism was exposed. The field of state architecture in both totalitarian regimes provide the occasion to discuss a basic problem of modernism: The instrumentalisation of its formal language for any ideology. For the Italian context, Giuseppe Terrgani’s Casa del Fascio in Como and the Florentine railway station of the Gruppo Toscano are used as examples; for Nazi Germany, the positions of Wilhelm Pinder and the system-relevant role of industrial building, as well as the myth of the flight into industrial building as an outlook into the time after 1945.
35
Jääts, Indrek. "Favourite Research Topics of Estonian Ethnographers Under Soviet Rule." Journal of Ethnology and Folkloristics 13, no. 2 (December 1, 2019): 1–15. http://dx.doi.org/10.2478/jef-2019-0010.
Full textAbstract:
Abstract Estonian ethnography as one of the Estonia-related disciplines was tied with Estonian nationalism from the very beginning. Defined as a science investigating mainly the material side of vanishing traditional peasant culture in the 1920s, it fitted rather well with the Soviet understanding of ethnography as a sub discipline of history. Thanks to the major cooperation projects initiated and coordinated by ethnographers from Moscow, Soviet Estonian ethnographers could continue studying Estonian traditional peasant culture. Their favourite research topics (folk costume, peasant architecture and traditional agriculture) supported Estonian national identity, but also suited the framework of Soviet ethnography. Studying contemporary (socialist) everyday life was unpopular among Estonian ethnographers because the results had to justify and support Soviet policy. They did so unwillingly, and avoided it completely if possible. Despite of some interruption during the Stalin era, ethnography managed to survive as a science of the nation in Soviet Estonia.
36
Zvjagintseva, M. M. "UTOPIC IDEAS IN RUSSIAN ARCHTECTURE IN CULTURAL ASPECT." Proceedings of the Southwest State University 21, no. 4 (August 28, 2017): 32–38. http://dx.doi.org/10.21869/2223-1560-2017-21-4-32-38.
Full textAbstract:
Utopia is one of the most stable archetypical cultural concepts because it reflects the mankind’s desire to improve their world, find a better way of social organization and return to the paradise lost. The idea of the “general welfare domain” had been present in myths and religions of different peoples long before the term “Utopia” appeared as such. Utopian ideals were extremely typical of the European culture due to its extroversion and the aspiration for a more rational existence. Utopia demonstrates a number of very typical features including commonality, special isolation, timelessness (absence of historical times), autarchy (self-sufficiency, independence from the outer world, etc. including the separation from people), urbanism, regimentation and globality. Since XVI-XVII centuries the image of an ideal society has shaped as a city on an island. As a city quite often looks like an ideally transformable space, architectural Utopia plays a very specific role: it personifies the social Utopia. City-planning interpretation of Thomas Moor’s ideas presented a big interest for his contemporaries. Later there were many projects of “ideal” cities that were developed by Italian Renaissance architects. The XVIII century was marked by the appearance of Utopian socialist philosophy. A part of its supporters used to think that metropolitan cities could make a sound foundation for the development of industrial civilization, others advocated the networks of small independent communities. In Russia the first belletristic Utopias appeared in the XVIII century. They continued West-European traditions and preserved all traits of a classical Utopia, however, they acquired national color. All of them pictured an ideal future society that was embodied in new city types. Russian architectural Utopias are closely connected with social processes that predetermined the development of European culture in general. National Utopian architecture had its prime time after the revolution when architects got opportunities to implement their bold ideas
37
Machala, Branislav, and Jorn Koelemaij. "Post-Socialist Urban Futures: Decision-Making Dynamics behind Large-Scale Urban Waterfront Development in Belgrade and Bratislava." Urban Planning 4, no. 4 (November 21, 2019): 6–17. http://dx.doi.org/10.17645/up.v4i4.2261.
Full textAbstract:
This article discusses the implementation of two large-scale urban waterfront projects that are currently under construction in the Central and Eastern European (CEE) capital cities of Belgrade and Bratislava. Against the backdrop of postsocialist urban studies and recent reflections on urban or ‘world-city’ entrepreneurialism (Golubchikov, 2010), we reveal how both elite-serving projects are being shaped according to their very own structure and agency relations. Our comparative analysis unravels the power-geometry of the decision-making processes that reshape urban planning regulations of both transforming waterfronts. The path-dependent character of “multiple transformations” (Sykora & Bouzarovski, 2012) in the CEE region can, even after three decades, still be traced within the institutional environments, which have been adapting to the existing institutional architecture of global capitalism. Yet, at the same time, the dynamic globalization of this part of the world intensifies its further attractiveness for transnational private investors. As a consequence, public urban planning institutions are lagging behind private investors’ interests, which reshape the temporarily-fixed flows of capital on local waterfronts into landscapes of profits, politics and power. We argue that suchlike large urban developments, focused on promoting urban growth, accelerate the dual character of these cities. Thus, while the differences between both investigated case studies are being highlighted, we simultaneously illustrate how national and local state actors respectively paved the way for private investors, and how this corresponds to similar overarching structural conditions as well as outcomes.
38
Egedy, Tamás. "Current Strategies and Socio-Economic Implications of Urban Regeneration in Hungary." Open House International 35, no. 4 (December 1, 2010): 29–38. http://dx.doi.org/10.1108/ohi-04-2010-b0004.
Full textAbstract:
In the last decade decision-makers on state, regional and local levels in Hungary gradually recognized the inevitability of urban regeneration and the opportunities the latter offers for architecture, economy and society. During the socialist era state investments focused on the forced construction of high-rise estates and inner city areas have been neglected. As a consequence of these processes urban regeneration started later in the Eastern European countries and these run-down areas could be characterised by disadvantaged positions on the new capitalist housing market. Twenty years after the change of regime stakeholders taking part in the urban regeneration process in Hungary slowly realise that problems of the built, natural and social environments overlap. Due to the change of mind first integrated urban development programmes appeared. Through these projects focusing on the rehabilitation of built and natural environments of cities experts already try to generate also socio-economic impacts. The article highlights current trends and characteristic features of urban regeneration in Hungary together with short introduction of strategies on national, regional and local levels. Main socio-economic impacts of rehabilitation processes closely related to the quality of life will also be presented through the results of empirical researches carried out in Budapest and the major Hungarian cities.
39
Maksic, Milica. "European experiences as guidelines for public, private and civil sector role redefinition in spatial policy formulation process in Serbia." Spatium, no. 27 (2012): 40–45. http://dx.doi.org/10.2298/spat1227040m.
Full textAbstract:
The period of post-socialist transition in Serbia brings more complex actors environment compared to socialistic period, while institutional arrangements are not enough developed to actively involve different groups of actors in spatial policy formulation process. In order to gather certain knowledge as guidelines for redefining institutional practices in Serbia, institutional framework of Serbia was compared in this paper with institutional framework of three developed European countries, especially in relation to the roles of public, private and civil sector in spatial policy formulation process. The European countries selected for the analysis are United Kingdom, Netherlands and Germany because of diverse national administrative traditions, so different institutional arrangements could be researched. By comparing institutional framework in Serbia with the ones in developed European countries following questions are researched: which actors are missing in Serbia, what are the ways institutional arrangements for different groups inclusion into spatial policy formulation process are formed, what are the differences between the roles of certain groups of actors in decision-making process. Current roles of actors in spatial policy formulation process in Serbia are reviewed and possible directions for public, private and civil sector role redefinition in Serbia are discussed in accordance with experiences of developed European countries.
40
Bescherer, Peter. "Von der Großstadtfeindschaft zum Nazikiez? Warum ein urbaner Populismus von rechts eine reelle Gefahr ist." Sozialer Fortschritt 68, no. 8-9 (August 1, 2019): 609–28. http://dx.doi.org/10.3790/sfo.68.8-9.609.
Full textAbstract:
Zusammenfassung Die reaktionären Bewegungen der Vergangenheit verteufelten das vermeintlich sündhafte, wurzellose und degenerierte Leben in der Großstadt und glorifizierten die Genügsamkeit und Fruchtbarkeit des ‚Bauernstandes‘. Zwar waren städtische Räume immer auch der Ort rechter Hegemoniebestrebungen, die von der Monumentalarchitektur der Nazis bis hin zu den ‚national befreiten Zonen‘ der NPD reichten. Die Stadt war aber in der Regel nicht ihr Thema. Mit der Krise der liberalen Demokratie droht sich das Politikfeld Stadt für die Rechte zu öffnen. Der Aufsatz illustriert anhand der Wohnungsfrage und der Sicherheitspolitik, wie Stadtentwicklung eine populistische Lücke hinterlässt, in die rechte Parteien und Bewegungen hineindrängen (können). Anhand eines Falls aus der empirischen Forschung wird darüber hinaus diskutiert, wie sich politische Nachfrage und rechtspopulistisches Angebot zueinander verhalten. Abstract: From Anti-Urbanism to Urban Populism? The Upcoming Danger of an Urban-Based Radical Right Reactionary movements of the past demonized city life for nurturing dissolute, rootless and degenerated habits. On the contrary, they praised the frugality and fertility of rural people. The city has always been a site of hegemonic politics by the radical right, ranging from National-Socialist architecture to no-go areas established by neo-Nazis in East German towns after the reunification. It has, however, usually not been a matter of rightist politics. The crisis of liberal democracy, that came about the last years, runs the risk of providing the radical right with access to urban development. By analyzing issues on the housing market and in urban security politics the paper points out a ‘populist gap’ in urban development that could be filled by the right. Furthermore, an empirical case study reveals tensions between the demand site and supply side of urban populism.
41
Nekrošius, Liutauras. "ARCHITECTURE AS AN ART COLLECTION: PALANGA CASE / ARCHITEKTŪRA KAIP MENO KOLEKCIJA. PALANGOS ATVEJIS." JOURNAL OF ARCHITECTURE AND URBANISM 36, no. 3 (October 9, 2012): 222–38. http://dx.doi.org/10.3846/20297955.2012.732799.
Full textAbstract:
The trends in Palanga architecture of the second half of the 19th – first half of the 20th century are represented in the National Cultural Heritage List by 10 villas, 14 residential houses, two hotels (Kurhauses of Nemirseta and Palanga), a pharmacy, a spa building, a ship rescue station and a bus station. But such heritage objects reflect the stages in the town development only partially. If the cultural heritage list of Palanga town is treated as a coherent and continuous collection reflecting different stages in architecture and culture of this town (as it should be), it would be relevant to add a few more samples of the mid and second half of the 20th century architecture to the list. Taking into consideration the presence of exclusive Soviet period architectural objects on the list (made according to recommendations of different professional and social communities), and recommendations of the list founders, the following two educational institutions realized less than 50 years ago that these may as well be enrolled as examples of specific historic period and acknowledged artistic style or trend, and as most progressive and/or artistic architectural solutions of the time, to be protected for public information and use purposes: the music school designed by architect I. Likšienė,1981, (Maironio St.8; see Fig. 1) and former Pioneers’ Palace designed by I. Likšienė and G. P. Likša,1985, (now the elementary school, at the address Virbališkės Takas 4; see Fig. 2). These buildings are distinctive examples of contemporary architecture development. At present managed by the local municipality, they are in good physical state, with retained initial qualities of space and volume structure, use of materials, environment and purpose. In the category of accommodation buildings the following may be marked out: the early architectural design works by A. Lėckas, namely, the Žilvinas hotel (Kęstučio St. 34; see Fig. 4, a.), designed and implemented in 1968 as a rest house for 45 guests (21 apartment) on commission of the Council of Ministers of the Soviet Socialist Republic of Lithuania and the Žilvinėlis apartment building for 24 guests implemented in 1970 (Birutės al. 44; see Fig. 4, b.). These objects still owned by the state have been prepared for privatization. Before privatization it is suggested to enroll them on the Cultural Heritage List, identify their valuable qualities, character and level of significance and perform any other required procedures. It is also recommended to make agreements for protection of cultural heritage objects with the new owners of such buildings. The initial protection is also needed for the Rąžė book shop and café building (Vytauto St.84; see Fig. 5) designed by R. V. Kraniauskas in 1967 and considered mature in the artistic sense. The building has retained its small scale, which is characteristic for the resort town, and thus enriches the spatial perspective of the street. Considering its physical shape, functional and aesthetical qualities and the use character, it is also highly recommended to grant the heritage protection status to the administration building Komprojektas (Gintaro St.30,30A; see Fig. 6) designed by G. P. and I. Likša in 1988. The collection of Palanga architecture may also be enriched by the conserved pavilions of the summer reading hall of the National Martynas Mažvydas Library (Vytauto St.72, (1968); see Fig. 7) and Kupeta (S.Daukanto/ S.Dariaus and S.Girėno St., (1969); see Fig. 8) designed by architect A. Čepys; an example of the original concrete plastics, the coffee shop Banga (J. Basanavičius St. 2; see Fig. 10) designed by G. J. Telksnys in 1976–77 and realized in 1979. The present shape and use character of these buildings cause serious threat to their preservation. There is little probability that within the context of the on-going reconstructions traditional acts for enrollment on the heritage list could somehow contribute to the conservation of values of the Vanagupė resort center, the laureate (1984) of prestigious prize by the USSR Council of Ministers (architects A. Lėckas, S. Šarkinas and L. Merkinas; see Fig. 3); the resthouse Guboja implemented only partially in 1976 (in Šventoji, Jūros St 65A., architect. R. Buivydas); resthouse Auska (presently, hotel, Vytauto St.11; architect J. Šipalis, 1977); and the resthouse Šiaulių Tauras (Vytauto St.116, architect G. P. Likša,1983). Nevertheless, the identified architectural, urban, landscape and engineering values of objects and analyzed possible forms for their conservation (ex-situ and in-situ) could become a basis for scientific study of contemporary architecture and urban planning in Palanga resort. Based on their design material, the initial concepts of such objects should be identified and their present as well planned for the future transformations should be analyzed. Such study to be presented publicly (for example, on the National Cultural Heritage List database) could ensure conditions for better understanding of past and present values of the objects, for both, specialists and public at large, and be a highly valuable source of information describing the architecture of the time to be used for information, scientific and professional purposes. Such study may also become a stimulus for preparation of complex regeneration design projects of objects and landscapes, which would comprise the conservation and development needs and add new artistic values. Santrauka Dėl pakitusių politinių, ekonominių ir kultūrinių sąlygų XX a. II pusės architektūros ir urbanistikos kūriniai dažnai nebeatitinka šiandienos naudotojų poreikių ir keliamų reikalavimų. Todėl apleidžiami, griaunami ar reikšmingai kinta. Dėl to ryškėja iniciatyvos siūlyti į KVR įtraukti kuo daugiau šio laikmečio kūrinių. Tačiau XX a. IX dešimtmetyje kultūros paminklais tapę naujosios architektūros kūriniai dėl neraiškios saugojimo strategijos, žmogiškųjų ir finansinių išteklių tvarkybai stokos vis tiek nyksta. Todėl kyla abejonių ar registro plėtra bus veiksminga. Straipsnyje Palangos miesto pavyzdžiu nagrinėjamos galimybės sudaryti vėlyvojo modernizmo architektūros kolekciją. Manoma, kad sistemingas kultūriškai vertingų architektūros objektų rinkinys formuojamas apjungiant skirtingus saugojimo metodus gali paskatinti atsakingas institucijas, vietos ir profesines bendruomenes susitelkti atsakingam architektūros paveldo puoselėjimo ir tvaraus naudojimo procesui.
42
Schmidt, Alexander. "The Nazi Party Rally Grounds in Nuremberg." Ex Novo: Journal of Archaeology 5 (May 24, 2021): 63–78. http://dx.doi.org/10.32028/exnovo.v5i.412.
Full textAbstract:
The former Nazi Party Rally Grounds in Nuremberg reflect politics and public debates in Germany between suppression, non-observance and direct reference to the National Socialist Past since 1945. Within this debate, various ways of dealing with the architectural heritage of the National Socialism exist. Those approaches are often contradictory. Since 1945 (and until today), the former Nazi Party Rally Grounds have been perceived as an important heritage. However, despite innumerable tourists visiting the area, parts of the buildings were removed and through ignoring the historic past of the Nazi Party Rally Grounds, an everyday usage of the area was established. As of the public representation of the city, Nuremberg’s Nazi Past was played down and hidden. Simultaneously, considerable efforts were made to maintain and renovate areas of the Party Rally Grounds, partly out of a pragmatic manner as well as to document and educate about history. The special role Nuremberg played under National Socialism, led to a particularly prominent culture of remembrance (Erinnerungskultur). However, this isn’t the outcome of a simple success story coming from initial public suppression to a conscious examination of the National Socialist Past. It has been a rather contradictory non – linear process, continuing until today.
43
Малярчук, Олег. "COMPREHENSIVE DEVELOPMENT AND ARCHITECTURAL AND ARTIS¬TIC DESIGN OF IVANO-FRANKIVSK DURING “DEVELOPED SO¬CIA-LISM”." Науковий і культурно-просвітній краєзнавчий часопис "Галичина", no. 33 (December 20, 2020): 126–36. http://dx.doi.org/10.15330/gal.33.126-136.
Full textAbstract:
The article describes the changes that took place as a result of the socialist industrialization of the western regions of the Ukrainian SSR by the example of the Ivano-Frankivsk region and related urbanization. The architecture of the city of Ivano-Frankivsk (Stanislavov, Stanislav) has absorbed features of different historical epochs. Architectural features different from all other styles as well as the scale of development characterized the Soviet period in the history of the city. The urbanization of Ivano-Frankivsk, Ternopil, Chernivtsi, Uzhhorod, and especially Lviv, is unique in its historical experience. It was “overdue” and was preceded by a radical military and postwar change in the ethnic and social composition of the population of cities where Jews and Poles were the dominant majority. The rapid increase in urban population of the western region of the republic was at the expense of the Ukrainian rural population. Among other major Ukrainian cities, Ivano-Frankivsk was notable for being one of the few regional centers (inferior to Lviv), that was Ukrainized, and played a decisive role in the national-religious movement of the second half of the 1980s.
The purpose of the study is to analyze in the historical context the specifics of architectural and artistic design, improvement of the city of Ivano-Frankivsk during the rule of the Soviet totalitarian system (“developed socialism”), successes and miscalculations. Objectives: 1) to prove that irreparable damage was caused to the historic part of the city as a result of Soviet reconstruction. Many old buildings could have been in operation for decades, after preventive repairs. They reiterated the fate of their former owners, who were physically destroyed; 2) to generalize the gains and disadvantages in the practice of housing, industrial and communal construction on the example of frequent cases when in the territory of the new building (quarters, neighborhoods and even entire settlements) the inhabitants were not provided with the most necessary elements of improvement. Significant disadvantages were allowed in the landscaping business.
To develop the topic, the authors used a whole group of scientific methods: the principles of objectivity and historicism, which involve consideration of particular phenomena and processes in their development and close connection with the system of relevant social relations; historical facts are considered against the backdrop of political processes, which involves the use of a method of comparative analysis, which clarifies the essence of many significant events for Ukrainian socio-political thought. Design and construction organizations while constructing residential complexes did not always take care of the conservation of natural relief, vegetation, green space. The public carried out systematic work on the improvement of cities, towns and villages. The Party-Soviet authorities tried to chalk up all the achievements. The regional center of Ivano-Frankivsk gained the glory of a beautiful city. At one time, it won prizes in urban competitions. This glory was preserved and multiplied by the city’s inhabitants, despite the adverse political conditions of the totalitarian system through creative approach to the renewal and expansion of the city, attentive and careful attitude to the existing capital buildings and nature.
Keywords: architectural styles, Ivano-Frankivsk, complex development, residential areas, landscaping, planting.
44
Botea Bucan, Irina. "How Do Cultural Houses and Cultural Hearths Matter? Towards a New Imagination of These Institutions." Studia Universitatis Babeş-Bolyai Dramatica 67, no. 1 (March 30, 2022): 35–54. http://dx.doi.org/10.24193/subbdrama.2022.1.02.
Full textAbstract:
"Whether resembling vacated shells or remaining fully functional, either commercially repurposed or relatively busy with paid or unpaid ‘leisure activities’, cultural houses and cultural hearths are still present throughout Romania, usually in the centre of towns and communes. Designed to centralise cultural and informal educational activities within a socio-geographic area, they enabled regional authorities to both survey the leisure time of the population along with providing a foundation for the production of the ‘new’ multidimensional socialist subject within a collective context. But immediately after 1990 they were seen as either a nuisance or a historic reminder that needed to be turned into an absence, a void: the epic but invisible institution. The article makes a case for why they deserve another chance in a punctual and specific re-evaluation that ultimately desires to insert a number of critical points for a possible re-imagination of these models of organization in which both stable and transitory communities collectively produce what we may call culture. It provides an extended timeline/lineage that opposes one-dimensional readings of the institutions as objects of communist propaganda. It argues that the ways in which they were planned during 1955-1989 counteracts contemporary monetarist visions towards the role of such cultural institutions. Ultimately, cultural houses were part of a national plan that considered culture as central to the ‘common good’ rather than a laissez-faire approach that places economic efficiency above all else. Paradoxically, more contemporary versions of cultural houses and hearths are often far more restrictive than their early predecessors and this situation can and should change. Keywords: cultural houses, architecture, social imagination, monetization of culture, entanglement "
45
Light, Duncan, and Craig Young. "Urban space, political identity and the unwanted legacies of state socialism: Bucharest's problematic Centru Civic in the post-socialist era." Nationalities Papers 41, no. 4 (July 2013): 515–35. http://dx.doi.org/10.1080/00905992.2012.743512.
Full textAbstract:
This paper explores the relationship between the urban cultural landscape of Bucharest and the making of post-socialist Romanian national identity. As the capital of socialist Romania, central Bucharest was extensively remodelled by Nicolae Ceauşescu into the Centru Civic in order to materialize Romania's socialist identity. After the Romanian “Revolution” of 1989, the national and local state had to deal with a significant “leftover” socialist urban landscape which was highly discordant with the orientation of post-socialist Romania and its search for a new identity. Ceauşescu's vast socialist showpiece left a difficult legacy which challenges the material and representational reshaping of Bucharest and constructions of post-socialist Romanian national identity more broadly. The paper analyzes four attempts to deal with the Centru Civic: developments in the immediate post-1989 period; the international architectural competition Bucureşti 2000; proposals for building a Cathedral of National Salvation; and the Esplanada project. Despite over 20 years of proposals central Bucharest remains largely unchanged. The paper thus deals with a failed attempt to re-shape the built environment in support of national goals.
46
UYSAL BİLGE, Fulay. "IDEOLOGY – ARCHITECTURE RELATIONSHIP: NAZI ARCHITECTURE." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 25 (2022): 0. http://dx.doi.org/10.17365/tmd.2022.turkey.25.05.
Full textAbstract:
Hitler’s Germany witnessed the most influential political power activities in world history before and during the Second World War. Germany’s collapse both politically and economically in the early 1930s enabled Hitler to take action. This structure, which relied on the new political stance behind it, has ensured its legitimacy and ideology with propaganda works. Nazis used the social power of architecture as a tool to support the new order that they were establishing. Aim: This study aims to investigate the effects on the forming and shaping of the city and the designed buildings, planned according to the Nazi ideology fundamentals. Method: In the article, concepts of ideology and propaganda are discussed. The propaganda methods used during the Hitler period are briefly explained. Through the relationship between ideology and architecture, the reflections of ideology on Nazi architecture have been determined. By evaluating the relationship of Hitler's architectural preferences with ideology, it was determined how it was treated as a propaganda tool. Findings: It was determined that the effects of Hitler's ideology on the shaping of Nazi architecture had an independent style of national socialism and classicism established on European typology and morphology. The relationship between the monumental architecture utilized in Nazi Germany and the styles in the history of architecture was detected. Although it is impossible to classify Hitler's architectural preferences under a single title and to say that the Third Reich has an official architectural style, it was determined that Nazi Architecture, founded on the neoclassical basis, was developed and changed around this framework. Conclusion: For architecture to thrive, it needs an innovative, unrestricted and creative environment rather than a repressive one. Politics is expected to be supportive rather than conflicting with architecture. Instead of imitation, supporting historical searches with creativity will develop architecture.
47
Kinosyan, Natalia, and Elza Bashirova. "The architecture of spectacular buildings in the city of Kazan in the context of national and regional traditions." E3S Web of Conferences 274 (2021): 01016. http://dx.doi.org/10.1051/e3sconf/202127401016.
Full textAbstract:
The specificity of the formation of facade and spatial solutions of large spectacular buildings in Kazan is considered in the context of national and regional traditions. Ornamental and decorative systems, adapted to the architectural and artistic styles that existed in this period were identified. The main approaches to the design of large spectacular buildings in the context of national and regional traditions in the architectural practice of Kazan in the middle and the end of the XX century were identified as follows: - based on the use of the dominant styles in the considered periods (classics with the ideological concept of socialism, modernism, postmodernism), adapted to the architectural traditions of the decorative system of the Middle Volga region; - based on the use of modern finishing materials – ceramics, majolica, natural stone, which has references to the traditions of facing the facades of Bulgar buildings with limestone and glazed tiles. The architects of the middle and the end of the XX century laid the foundations of modern regional-national architecture and the methodology for the formation of a decorative-artistic system that combines the stylistic techniques of classicism, modernism, postmodernism with techniques which had references to the Bulgar-Tatar traditions.
48
Němec, Richard. "National Socialist Architectural Policy in the Occupied Countries of Central and Eastern Europe." Acta Poloniae Historica 114 (December 1, 2016): 123. http://dx.doi.org/10.12775/aph.2016.114.05.
Full text
49
Fortuna, James J. "Fascism, National Socialism, and the 1939 New York World’s Fair." Fascism 8, no. 2 (December 17, 2019): 179–218. http://dx.doi.org/10.1163/22116257-00802008.
Full textAbstract:
Abstract This article considers the involvement of Fascist Italy and Nazi Germany at the 1939 New York World’s Fair. It considers the form, function, and content of the Italian Pavilion designed for this fair and asserts that the prefabricated monumental structure would be best interpreted, not in isolation, but as an element of the larger architectural conversation which continued to unfold across contemporary fascist Europe. Such reconsideration of this building makes it possible to evaluate the relationship between Fascist design, the assertion of political will, and the articulation of national identity and cultural heritage within a larger, transnational context. The author also investigates the American exhibition committee’s earnest and persistent, yet ultimately unheeded, solicitation of Nazi German participation and argues that motives behind German withdrawal from this event had as much to do with the threat of popular protest as economic pressure.
50
Nikel, Joanna. "Ewolucja zawodu i kształcenia architektów w Niemczech od II połowy XVIII wieku do 1933 roku." UR Journal of Humanities and Social Sciences 16, no. 3 (2020): 5–22. http://dx.doi.org/10.15584/johass.2020.3.1.
Full textAbstract:
The aim of this article is to show the range of responsibilities, professional and business titles and the evolution of the system of architectural education, functioning on the territory of selected German states, which in 1871 formed the Second German Reich. Other German-speaking countries, such as Austria or Switzerland, have been omitted, as were those Polish territories under the Prussian and Austrian partition. These issues, despite numerous German-language publications (Bolenz 1991; Schnier 2009; Mai 2012) and English publications (Kostofa 1986), pose many problems for Polish researchers, especially those researching the history of architecture of former German-speaking regions, and the lack of research is not compensated for by modest Polish publications (Serdyńska 2015). The main research questions that are posed concerned issues related to the education of architects and the conditions within their profession. The 18th century was the starting point for my reflections, when the first academic centres for the education of architects in the German-speaking area were established. The thought of the 18th century as a caesura for the architectural profession is also dictated by the effects of the Industrial Revolution, which determined the emergence of professional specialisations in construction and, in the long term, determined the modern understanding of the words architect and engineer. The year 1933 marks the endpoint of the ensuing paper, when, as a result of the takeover of power by the National Socialists, a violent and radical process of building a totalitarian society began in Germany, in which higher education and the fine arts, especially architecture, were subordinated to Nazi ideology.