La nouvelle informatique | ploum
▻https://ploum.net/2024-03-21-nouvelle-informatique.html
La nouvelle informatique | ploum
▻https://ploum.net/2024-03-21-nouvelle-informatique.html
La nouvelle informatique est également une lutte. Une lutte pour la création d’un nouveau type de superorganisme qui n’aurait pas pour objectif la maximisation de l’exploitation des ressources.
Une lutte pour la survie de l’humanité.
La « survie de l’humanité » aurait plutôt besoin de luttes contre l’extractivisme minier et l’industrie des métaux qu’implique la simple existence de l’informatique et de l’électronique...
Mais bon, l’empoisonnement des terres, fleuves et nappes phréatiques, le déplacement forcé de peuples autochtones et la destruction de leur milieu, etc. (cf. C. Izoard, Ruée minière au XXIe siècle , Seuil, janvier 2024) tout ça n’est certainement qu’un « détail »...
Antoine Tabet et ses compagnons : portrait du Liban moderne - L’Orient-Le Jour
▻https://www.lorientlejour.com/article/1363031/antoine-tabet-et-ses-compagnons-portrait-du-liban-moderne.html
Aussi, Voyages à travers la culture, l’architecture et la politique avec Antoine Tabet et ses compagnons est, comme son titre l’indique, un ouvrage où l’architecture occupe une place centrale. Jad Tabet y relate les transformations fondamentales qui ont accompagné l’expansion de Beyrouth, ont imprégné significativement son paysage urbain et ont marqué les débuts de l’architecture moderne. Parmi les « architectes de la première génération », Jad Tabet cite Youssef Bey Aftimos, Bahjat Abdelnour et Mardiros Altounian. Mais alors que la production des architectes de la première génération se distinguait par son mélange de styles « ottoman et moderne », de nouvelles tendances sont apparues au début des années 30. Elles présentent la nécessité d’un langage architectural compatible avec les transformations majeures de l’époque. Joseph Najjar, Farid Trad et Antoine Tabet forment cette nouvelle génération d’ingénieurs qui, ayant travaillé à l’établissement d’une pratique de l’ingénierie moderne, jouera un rôle fondamental au cours des années 50 et 60. Jad Tabet montre aussi comment, chacun de ces trois pionniers, a incarné un modèle idéal du rapport de l’ingénieur à sa profession et à la société dans laquelle il vit. Du caractère officiel de la pratique de Joseph Najjar qui a occupé plusieurs postes ministériels de 1964 à 1968 et du modèle de l’ingénieur « libéral » qui est représenté par Farid Trad, Tabet distingue celui incarné par Antoine Tabet, son père, celui de l’ingénieur « engagé ». Comme les pionniers du modernisme en Occident, Antoine Tabet croyait que le projet moderniste en architecture était lié à un projet plus large visant à établir un monde plus juste dans lequel chacun jouissait d’une vie meilleure.
Une des plus belles pages, s’il en est, de ce qui se donne aussi à lire comme un récit de filiation. Proposée dans les années 90 par Dominique Viart (« Filiations littéraires », in Écritures contemporaines 2), la notion couvre un type de récit qui se configure sur le mode de l’enquête, l’enjeu étant, pour le narrateur, de se situer dans l’histoire à la fois collective et familiale dont il est le produit. Le récit de l’autre – en l’occurrence le père – est le détour nécessaire pour parvenir à soi. Le récit de filiation devient ainsi prétexte à revisiter l’Histoire et se présente comme un travail de restitution écrit à partir d’archives, de documents, de traces diverses devenues précieuses. Cette restitution se pense à plus d’un niveau puisque « restituer », c’est aussi le fait de « rendre quelque chose à quelqu’un », rendre une dette ou rendre leur existence à ceux qui ne sont plus en restituant, d’une certaine manière, leur légitimité.
C’est donc un opus qui tient à la fois du traité d’architecture, du livre d’histoire et de l’objet littéraire que nous livre Jad Tabet pour brosser la fresque d’une époque, de l’émergence d’un monde à son extinction – le récit débutant avec la découverte de la maison de Bhamdoun dans laquelle Antoine Tabet est né s’achève avec la mort de ce dernier.
A propos du livre LubnĀn al-bidayĀt fi sirat mouthakaf hadĀthi. RahalĀt fi al-thakĀfa wal-handasa wal-siyĀsa ma‘ Antoine Tabet wa rifĀkihi (Le Liban des commencements dans la biographie d’un intellectuel moderne : voyages à travers la culture, l’architecture et la politique avec Antoine Tabet et ses compagnons) de Jad Tabet (préface d’Elias Khoury), éditions Riad El-Rayyes, 2023, 335 p.
#Liban #architecture #engagement #modernisme
Architettura italiana in Eritrea
Questo libro amplia la documentazione della mostra “Asmara – Africa’s Secret Modernist City”, curata da Omar Akbar e da Naigzy Gebremedhin: la mostra, dopo l’esordio a Berlino lo scorso 2 Ottobre 2006, e dopo numerose tappe di un itinerario internazionale, viene presentata per la prima volta in Italia, a Torino, nell’ambito del XXIII Congresso Internazionale degli Architetti (29 giugno – 4 luglio 2008). Il libro, basato sull’album fotografico dei numerosi viaggi dell’autrice in Eritrea, illustra, attraverso la scelta di immagini significative, le manifestazioni architettoniche che hanno segnato il periodo coloniale italiano in Eritrea dal 1882 al 1941.
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The fruit of its author’s professional experience in Eritrea, this book provides readers with an upbeat, original presentation of the architectural developments that marked the history of the Italian colonial administration in Eritrea from 1882 to 1941, recording them with an extensive repertoire of contemporary and historical photographs and documents.
Architects, town planners, engineers and other professionals working in the African colony seized the opportunity to experiment with new concepts, erecting modern architectural forms that they would not have been able to propose with the same degree of freedom in Italy itself, especially from the twenties onwards. The resulting artistic heritage is unique for the creative traits that range from interpretations of neoclassical taste to modern expressions of Rationalism, as well as the unusually balanced way in which they were inserted into their environmental context.
www.editricelarosa.it/larosa/fc06.html
▻http://www.editricelarosa.it/larosa/index.htm
#architecture #livre #Anna_Godio #colonialisme_italien #colonisation #Italie #Erythrée #histoire #urbanisme #livre
–—
ajouté à la métaliste sur la #colonialisme_italien :
►https://seenthis.net/messages/871953
ping @cede
Asmara. Africa’s Secret Modernist City
Asmara, the capital of the small East African country of Eritrea, bordering the Red Sea, is one of the most important and exciting architectural ’discoveries’ of recent years. Built almost entirely in the 1930s by the Italians, who transformed it into a hotbed of radical architectural innovation, Asmara has one of the highest concentrations of Modernist architecture anywhere in the world. This superb building-by-building survey, illustrated with previously unpublished archival material and specially commissioned photography, chronicles the colonial past and remarkable survival of a city that has evocatively been described as ’the Miami of Africa’.
The first book to explore one of the most important but least-known Modernist cities in the world
Authoritatively written by experts with extensive first-hand knowledge of the city
A must-have for anyone interested in architectural history and the dynamics of Modernism
Modernist architecture in Asmara, Eritrea
UNESCO World Heritage Sites are natural and cultural legacies of “outstanding value to humanity…irrespective of the territory on which they are located”. Africa has less than a third of Europe’s number of sites. UNESCO is endeavouring to redress this imbalance, although the nomination process remains costly, time-consuming and dependent on specific expertise.
The locally-based Asmara Heritage Project (AHP) was established in March 2014 and has been supported by a number of governmental and non-governmental agencies internationally. In January 2016, AHP will submit an application to have the capital city of Eritrea recognised as a World Heritage Site.
AHP’s application will be under three of the ten criteria set out by UNESCO, stipulating that the nominated site must:
– Exhibit an important interchange of human values, over a span of time or within a cultural area of the world, on developments in architecture or technology, monumental arts, town planning or landscape design
– Bear a unique or at least exceptional testimony to a cultural tradition or to a civilization which is living or has disappeared
- Be an outstanding example of a type of building, architectural or technological ensemble or landscape which illustrates (a) significant stage(s) in human history
Urban planning and architecture constitute two distinct elements of the Asmara bid. Both are outstanding examples of their respective contributions to world heritage.
On 9 September Dr Edward Denison, co-author of “Asmara: Africa’s Secret Modernist City” and member of the AHP team, spoke to a full house – including many Eritreans – at ARI. Here is a selection of ten things of interest from the presentation and discussion afterwards.
1. Modernism was not an exclusively western phenomenon – it was global. Africa, Asia and South America must not be overlooked. There are “multiple modernities”. Asmara represents “perhaps the most concentrated and intact assemblage of Modernist architecture anywhere in the world”. Before the 1930s there was quite an eclectic mix of architectural styles – neo-classicism, neo-baroque and neo-romanesque. Things started to change in 1935-6, coinciding with the apogee of Fascism and the Italian invasion of Ethiopia. We know this from the architectural archive in Asmara municipality, an extraordinarily rich resource. Modernism, not Art Deco, as is often erroneously claimed, characterises many of the buildings constructed in this period.
2. Italian planners in the early 1900s embraced the topography of Asmara as they developed their urban plans. Their designs – such as Cavagnari’s 1913 plan – sought to create a modern city that addressed the uniquely modern requirements of transportation, communication and sanitation, but did so in a way that respected and responded to the local environment while embracing modern planning principles. In doing so they created a very distinct urban plan. Although the city has since expanded and evolved substantially, the core characteristics have been retained, highlighting the success of the original designs.
3. The planners of Asmara were, for the most part, Italians but the physical construction of the city was undoubtedly undertaken by Eritreans. Local materials, such as lignite, granite and basalt, were used as the core building material with plaster rendered over this base. This means many of the structures were built using materials not normally associated with modernism, which exploited the properties of reinforced concrete.
4. Enda Mariam Orthodox Cathedral, built in 1938, is a unique example of rationalist/ modernist design acknowledging highland vernacular architecture. The “monkey head” building technique, using wooden dowels to bind the walls, had been used for centuries in the highlands of Eritrea and their legacy can be seen in the detailing of Enda Mariam and its surrounding buildings.
5. The piece of the puzzle we know least about is the background and motivation of the Italian planners and architects who came to Eritrea. This is frustrating when it comes to trying to understand fully their work, their portfolios and how their work in Eritrea shaped their future careers. Were they waving the flag for colonialism or were they running away from Mussolini? One building that brings this debate into focus is the futurist Fiat Tagliero petrol station. Futurism was very popular in the 1910s, but fell out of favour under Mussolini. Yet the Fiat Tagliero was built in 1938.
6. The municipal architectural archives in Asmara are invaluable for what they tell us about what was conceived of but never built – including what would have been Africa’s first multi-storey car-park. They shed light on the aspirations and ideas that shaped the evolution of the city. In doing so they help us to understand the thought processes of the planners and architects and the lifestyles they envisioned for its residents.
7. Efforts to preserve Asmara’s architecture have involved citizens as well as government. Proposals from German developers in the 1990s to knock down Caserma Mussolini – a former prison and now the Bank of Eritrea – and replace it with high-rise modern developments were blocked by individuals who had been incarcerated there during the Italian period. This sort of threat still exists, but the municipality has enforced a moratorium on building (in place now for ten years) in the historic zone of the city while it updates building regulations dating from 1938, and the country passes its first Heritage laws – an essential requirement for the UNESCO bid. The momentum provided in the 2000s by the World Bank-funded Cultural Assets Rehabilitation Project has been revived and maintained.
8. The coastal city of Massawa is much more ancient than Asmara but the state it is currently in will make a restoration hugely difficult and costly. Efforts have been made, not least under the Cultural Heritage Rehabilitation Project. However, it is hoped that the UNESCO bid will help build capacity within Eritrea and attract support internationally to carry out further work to preserve cultural heritage across the country in sites of great importance such as Massawa, Nakfa, Adulis and Qohaito.
9. Ensuring the engagement and interaction with younger Eritreans both within the country and in the diaspora is crucial. Raising public awareness will be a key part of the AHP once the bid has been submitted. In 2003 a project, funded by the British Council, encouraged school children from across Eritrea to describe what they liked most about their built environment through poems, pictures and stories. These contributions form part of a travelling exhibition that has raised awareness about Asmara’s heritage globally by appearing in cities across Africa, Europe and the Middle East. It is hoped that with support from the international community, this exhibition can travel to Asmara and one day become a permanent exhibit in the city.
10. Four villages were brought together on the plateau to form what became Asmara. It is a deeply historical symbol of unity. During the independence struggle, Asmara was interpreted and referred to through song, dance, education; a cultural heritage that extends beyond architecture. The city was an important reference point for Eritreans outside Asmara and played a crucial role in the struggle for national self-determination. Its unifying features remain important as Eritrea continues to try and build peace and stability.
▻https://www.africaresearchinstitute.org/newsite/event/9-september-event-modernist-architecture-in-asmara-eritrea
#modernisme #architecture_moderniste #photographie
via @olivier_aubert
Architecture in Asmara. Colonial Origin and Postcolonial Experiences
The ancient city of Asmara is the capital of Eritrea and its largest settlement. Its beautiful architecture was rediscovered by outsiders in the early 1990s. In this book, the authors offer an original analysis of the colonial city, providing a history not only of the physical and visible urban reality, but also of a second, invisible city as it exists in the imagination. The colonial city becomes a fantastical set of cities where each one reflects the others as if in a kaleidoscope.
Architecture in Asmara. Colonial Origin and Postcolonial Experiences breaks new ground and moves us a little further along in the attempt to decipher Asmara in terms of contemporary theory. This title of the Basics series brings together scholars from a multiplicity of disciplines who have shown the ways in which colonial and postcolonial criticism has served as a platform for new, diversified readings of Asmara.
▻https://dom-publishers.com/products/architecture-in-asmara
#livre
via @olivier_aubert
Forgotten Modernism at Kunstforum Ingelheim | HELEN SHINER
▻https://www.helenshiner.co.uk/forgotten-modernism-at-kunstforum-ingelheim
Avec entre autre un artiste victime du sinistre T4-Aktion :
▻https://i1.wp.com/www.helenshiner.co.uk/wp-content/uploads/2019/06/ebh_ballmer_01_2.jpg?w=624&ssl=1
Forgotten Modernism –Vergessene Moderne
Review of exhibition catalogue: Vergessene Moderne. Kunst in Deutschland zwischen den Weltkriegen, Internationale Tage Ingelheim at Kunstforum Ingelheim until 23 June 2019
Installation video: ▻https://www.internationale-tage.de
This year’s Internationale Tage Ingelheim centres around an exhibition entitled Vergessene Moderne. Kunst in Deutschland zwischen den Weltkriegen (Forgotten Modernism. Art in Germany between the World Wars). On display until 23 June 2019 at the Kunstforum Ingelheim at the Altes Rathaus, the exhibition showcases the work of 11 artists, to whom, as the exhibition organisers make clear, insufficient attention has been paid in the post-2nd World War period.
The beautifully produced exhibition catalogue accompanying this show is, for the most part, given over to large-format photographs of the works exhibited. A short biography of each artist is provided along with a paragraph about their work and artistic concerns.
Aleksandr #Rodchenko, Lenin workers’ club in Paris (1925) | The Charnel-House
▻https://thecharnelhouse.org/2014/05/29/aleksandr-rodchenko-lenin-workers-club-in-paris-1925
For now, here are some photos and drawings of Rodchenko’s famous design along with some well-known passages written at the time of the exhibition. It appeared as part of the same show that saw the premier of architect Konstantin Mel’nikov’s outstanding Soviet Pavilion.
Here’s Petr Kogan, an historian of art and literature, who wrote the catalogue introducing the club’s design:
Our section [of the exposition] has no luxury furniture or precious fabrics. At the Grand Palace visitors won’t find furs or diamonds. But those who can feel the rising tide of the creative classes will be able to appreciate the studied simplicity and severe style of the workers’ club and rural reading room…We are convinced that our new constructors have had much to say to the world and that everything most vibrant in humanity will not delay us from knowing and seizing through art the true meaning of our struggle. With this conviction we resolutely enter the lists of the new artistic competition among nations.
And here’s a passage by Rodchenko himself that’s often cited in connection with “comradely objects.” The Soviet avant-garde understood itself to be fashioning a new world.
#design #art #aménagement_intérieur #communisme #urss #union_soviétique #architectur #modernisme #avant-garde_soviétique #camarades #travailleurs
Le club des travailleurs était également reconstitué ce printemps à l’occasion de l’exposition Rouge au Grand Palais.
▻https://seenthis.net/messages/768980
Ah super, je l’avais vu aussi réconstitué à la (nouvelle) Galerie Tretyakov à Moscou
The Graveyard of Utopia: Soviet Urbanism and the Fate of the International #Avant-Garde | The Charnel-House
►https://thecharnelhouse.org/2011/11/22/the-graveyard-of-utopia-soviet-urbanism-and-the-fate-of-the-interna
« Poster for the First Five-Year Plan (1928), with vaguely antisemitic overtones »
« #VKhUTEMAS poster celebrating the Five-Year Plan »
Introduction
Comrades!
The twin fires of war and revolution have devastated both our souls and our cities. The palaces of yesterday’s grandeur stand as burnt-out skeletons. The ruined cities await new builders[…]
To you who accept the legacy of Russia, to you who will (I believe!) tomorrow become masters of the whole world, I address the question: with what fantastic structures will you cover the fires of yesterday?
— Vladimir Maiakovskii, “An Open Letter to the Workers”[1]
Utopia transforms itself into actuality. The fairy tale becomes a reality. The contours of socialism will become overgrown with iron flesh, filled with electric blood, and begin to dwell full of life. The speed of socialist building outstrips the most audacious daring. In this lies the distinctive character and essence of the epoch.
— I. Chernia, “The Cities of Socialism”[2]
Between 1928 and 1937, the world witnessed the convergence of some of the premier representatives of European architectural modernism in Moscow, Leningrad, and other cities throughout the Soviet Union. Never before had there been such a concentration of visionary architectural talent in one place, devoting its energy to a single cause. Both at home and abroad, the most brilliant avant-garde minds of a generation gathered in Russia to put forth their proposals for the construction of a radically new society. Never before had the stakes seemed so high. For it was out of the blueprints for this new society that a potentially international architecture and urbanism could finally be born, the likes of which might then alter the face of the entire globe. And from this new built environment, it was believed, would emerge the outlines of the New Man, as both the outcome of the new social order and the archetype of an emancipated humanity. With such apparently broad and sweeping implications, it is therefore little wonder that its prospective realization might have then attracted the leading lights of modernist architecture, both within the Soviet Union and without. By that same account, it is hardly surprising that the architectural aspect of engineering a postcapitalist society would prove such a captivating subject of discussion to such extra-architectural discourses as politics, sociology, and economics.
#architecture #modernisme #urss #union_soviétique #urbanisme #urban_matter #utopie_urbaine
Современная архитектура : Organ of architectural modernism in the Soviet Union, 1926-1930 | The Charnel-House
▻https://thecharnelhouse.org/2015/03/26/%d1%81%d0%be%d0%b2%d1%80%d0%b5%d0%bc%d0%b5%d0%bd%d0%bd%d0%b0%d1%8f-
Sovremennaia arkhitektura [Modern Architecture, or SA] was published every other month by the Society of Modern Architects [OSA] from 1926 to 1930. In all, the magazine ran for thirty issues, counting double-issues as two. A few years ago I uploaded some crude photographs of individual pages from originals stored in Columbia’s Avery Library. Tatlin has since republished the iconic journal, however, so anyone with the money and means to scan them could upload much higher-quality versions. For now, here are some that have been digitized for the Russian website Techne, which I’ve taken the liberty of running through ABBYY FineReader:
Casa Batlló — Wikipédia
▻https://fr.wikipedia.org/wiki/Casa_Batll%C3%B3
La #sérendipité du jour qui te fait un paquet de lecture et de recherche de photos.
#Barcelone #Antoni_Gaudí #modernisme #architecture #beau #organique
#Đuro_Janeković e il modernismo di Zagabria
Una selezione di immagini del fotografo zagrebese Đuro Janeković, realizzate tra il 1932 e il 1935
#Duro_Janekovic #modernisme #photographie
ping @albertocampiphoto @philippe_de_jonckheere @reka
#Expo :
Đuro Janeković. Fotografo Croato, Artista Europeo
Attraverso le fotografie il visitatore approda con lo sguardo dall’altra parte dell’Adriatico e anche più lontano, nella Zagabria degli anni ’30 del secolo scorso.
Il lavoro di Đuro Janeković (1912-1989) è rimasto fino a pochi anni fa completamente sconosciuto al contesto fotografico tanto croato quanto europeo eppure Janeković è stato, fra gli anni venti e trenta del XX sec., un protagonista della scena artistica zagrebese, testimone dell’influenza del modernismo europeo a Zagabria. Attraverso le sue fotografie Janeković diventa cronista della vita della sua città ad ogni livello, dalle periferie alle strade eleganti, dalle signore alle ballerine, ai miseri e agli outsiders.
Gli anni Venti e Trenta rappresentano per il fotogiornalismo, con il fenomeno dell’urbanizzazione, l’avvento della società dei consumi e la diffusione dello sport e degli svaghi di massa, anni di grande creatività. Seguendo l’esempio della tedesca «Berliner Illustrirte Zeitung» anche a Zagabria si inizia la pubblicazione di riviste illustrate come la Svijet (Il Mondo) e Kulisa (La Scena) che offrono alla fotografia una vetrina importante.
Nel 1933 Janeković diviene uno dei primi fotocronisti professionali della Croazia e le sue numerose fotocronache sono pubblicate proprio sulla rivista «Kulisa» le sue foto notturne di Zagabria sono uniche, scattate con una esposizione lunga o doppia; le prospettive e i punti di vista fotografici di Janeković sono particolarmente intriganti se si collegano a quelli di Aleksander Rodčenko del quale sono, anche per tempo di nascita, paralleli. Le vedute dall’alto e dal basso e le composizioni diagonali dimostrano nei due autori un’eccezionale affinità e una sensibilità comuni.
In uno stile che ricorda la miglior fotografia tedesca di quel tempo, le sue fotografie sportive si concentrano in prevalenza sul movimento e sull’uso di prospettive trasversali e di angoli di ripresa inusuali. Janeković mostra uno speciale talento per l’azione ed il movimento: cogliendo la palla appena lanciata, il corridore al momento dell’arrivo al traguardo, il saltatore nello stacco. Egli stesso, sportivo appassionato, correva accanto o innanzi al concorrente, ritrovandosi così protagonista e fotografo, con risultati sorprendenti per le possibilità tecniche del tempo.
▻https://www.balcanicaucaso.org/Appuntamenti/Duro-Janekovic.-Fotografo-Croato-Artista-Europeo2
#exposition
La #banlieue, un projet social. Ambitions d’une #politique_urbaine, 1945-1975
La France, au sortir de la Seconde Guerre mondiale, connaît une crise du #logement sans précédent, dont l’appel de l’#abbé_Pierre en 1954 marque le paroxysme. Une action forte s’avère indispensable. C’est dans ce contexte que l’État français a entrepris, dès 1945, l’une des plus formidables expériences sociales et architecturales du XXe siècle : transformer un pays essentiellement rural en une nation urbaine résolument moderne – cela en bâtissant massivement, en #périphérie des villes historiques. Si ces environnements suburbains d’après-guerre, hérissés de #tours, de #barres et de #mégastructures, sont souvent perçus comme le résultat anarchique d’un désintérêt politique, #Kenny_Cupers démontre que leur construction a, au contraire, été guidée par de ferventes #ambitions et #aspirations, notamment au sein de l’Administration. Synthèse très documentée d’une vaste révolution urbaine, des #bidonvilles de l’après-guerre jusqu’aux #villes_nouvelles, ce livre relate et analyse trois décennies d’#expérimentations au cœur desquelles était placé l’#habitat, nouvel enjeu du #modernisme, et établit une véritable généalogie de la banlieue française. Cette histoire détaillée des #projets_urbains de grande envergure menés par la France d’alors – et qui se sont révélés être une #spécificité_nationale – met au jour toute la complexité théorique, sociologique, administrative, etc., qui sous-tend la réalisation de ce « #projet_social ». Cet ouvrage, servi par une iconographie riche et évocatrice, s’appuie en outre sur de précieuses archives de première main.
« l’État français a entrepris, dès 1945, l’une des plus formidables expériences sociales et architecturales du XXe siècle : transformer un pays essentiellement rural en une nation urbaine résolument moderne »
La France avait comme principal problème un manque de main d’oeuvre pour une industrie en manque de modernisation.
Un baisse de la natalité, depuis plus d’un siècle, avec aggravation lors de la guerre précédente.
Par ailleurs, 20 % des logements avaient été détruits par les bombardements.
A Paris, 10 % de la population vivait à l’hôtel, en meublés.
Cette modernisation de l’habitat avait aussi été une demande du CNR, comme celui du plein emploi.
Ce plein emploi a donné ce qui est communément appelé les 30 glorieuses.
Documenting the Myths of Modernism.
▻https://failedarchitecture.com/documenting-the-myths-of-modernism
Since the beginning of the medium, documentary filmmakers have been fascinated by cases of architectural and urban failure. The personal stories of those affected, reflected in the backdrop of ruins and urban decay, provides fertile ground for documentary filmmaking. The films produced now provide us with a rich source of material for the analysis of architectural failure during the 20C. Not only the individual cases of failure but also the wider narratives that have shaped architectural and urban thinking throughout the century.
At its core, this narrative was that the overcrowded dilapidated 19C city was no longer fit for modern man and needed to be replaced with a well-designed alternative. Not only the quality of the housing was called into question but the whole city form needed to be altered to meet the demands of modern society, “death to the street” being the prevailing quote from the time. The alternative to this city was found in the design of high-rise estates and suburban new towns connected by new road networks. With such a strong narrative of the liberating power of design what could possibly go wrong?
The slums were real. Poverty, dilapidated buildings and inner-city overcrowding were genuine urban problems that had to be dealt with. There was no simple solution and in the spirit of the times, those solutions favoured held firm to the belief that design would solve all problems. Many of the early documentaries did not question this logic, and were produced almost as propaganda pieces advocating the ideologies of the architects, planners and developers of the day.
Radiant city | Thinkpiece | Architectural Review
▻https://www.architectural-review.com/essays/reviews/radiant-city/8640125.article
20th century Modernist masterplanning in South America stands charged as a catalyst for sprawling urban violence
During this year’s Open House at Harvard’s Graduate School of Design (GSD), one lecture stood out for its bold proposition that Modernist urban planning is responsible for the chronic urban violence in Latin America. As well as approaching a somewhat unpalatable subject, the lecture by Diane Davis, who starts her tenure as Professor of Urbanism and Development this year, also marks a shift in direction for the school itself (which has become increasingly interdisciplinary under Department Head, Rahul Mehrotra).
#urban_matter #révolte #amérique_du_sud #colonisation_of_urban_space
Recension de Tout ce qui est solide se volatilise :
▻http://www.lm-magazine.com/blog/2018/06/02/solide-se-volatilise
S’appuyant sur une foule d’écrivains et de penseurs, Marshall Berman (1940-2013) ausculte les notions de modernité, de modernisme. Ces deux questions étaient souvent vues sous un angle strictement artistique. Le philosophe américain va plus loin, interrogeant ce que signifie vivre dans une métropole moderne. Cette dernière façonne nos déplacements et, avec, nos existences elles-mêmes.
San Paolo, Brasile: crolla il palazzo simbolo della disuguaglianza
Nel centro di San Paolo crolla un palazzo dell’architettura modernista di 26 piani che era occupato da 455 persone. Un simbolo della disuguaglianza sociale e della violazione del diritto alla casa nella megalopoli del Brasile che ha sepolto almeno 7 persone
▻https://www.youtube.com/watch?v=n6JKP5ZhpOY
Wilton Paes de Almeida comme la #Grenfell_Tower à #Londres...
Demolishing modernism: Britain’s lost post-war gems | Art and design | The Guardian
▻https://www.theguardian.com/artanddesign/gallery/2018/may/07/demolishing-modernism-britains-lost-post-war-gems
Much 20th-century modernist architecture in the UK has been demolished, either after falling into disrepair or losing out to other periods. Roxana Antistescu has illustrated some of the best-known examples
Ces cartes postales de grands ensembles des années 60 sont les archives d’un monde appelé à disparaître
▻https://www.lemonde.fr/culture/article/2022/04/29/renaud-epstein-sociologue-ces-cartes-postales-sont-de-veritables-archives-d-
La Nouvelle Typographie
▻http://www.caractere.net/livres/item/la-nouvelle-typographie
Publié en 1928, La Nouvelle Typographie est un manifeste pour la modernité élaborée par Jan Tschichold (1902-1974), Allemand né d’un père peintre en lettres à Leipzig. Cet ouvrage est dorénavant disponible en français grâce aux traducteurs Françoise et Philippe Buschinger. L’auteur, qui travailla comme typographe et enseignant en Allemagne, Suisse et Angleterre, fut internationalement connu en 1925 avec la publication de Typographie élémentaire et pour le renouvellement de la ligne graphique de Penguin Books.
Modernist Belgrade Map / Modernistička mapa Beograda – Blue Crow Media
▻https://bluecrowmedia.com/collections/architecture-maps/products/modernist-belgrade-map
#map #carte #Belgrade #Serbie #modernisme #soviétisme
La crise politique en #France, expliquée par l’absence de « bloc social dominant »
▻https://www.mediapart.fr/journal/france/010417/la-crise-politique-en-france-expliquee-par-l-absence-de-bloc-social-domina
© Raisons d’agir Les économistes #Bruno_Amable et #Stefano_Palombarini proposent une grille de lecture à la décomposition de la scène politique française. Selon eux, la crise actuelle est l’aboutissement d’une vieille incapacité des gouvernants à forger des alliances majoritaires dans le corps social, en appui à la libéralisation du modèle social.
#bloc_social #décisionnisme #modèle_social_français #modernisme #PS
La Nouvelle Typographie en 3 points, par Jan Tschichold
▻https://www.actualitte.com/article/monde-edition/la-nouvelle-typographie-en-3-points-par-jan-tschichold/68299
Les avant-gardes artistiques européennes du début du XXe siècle furent le véritable creuset de la modernité. L’art typographique n’échappe pas à la règle : la Sécession de Vienne ou le Bauhaus participèrent activement à la création du design moderne. De nouvelles règles de composition expliquées et présentées par Jan Tschichold dans son « manuel pour des créateurs de leur temps », La Nouvelle Typographie, publié en 1928 et enfin disponible en français grâce aux éditions Entremonde.
La Nouvelle Typographie de Jan Tschichold ou la page contre le nationalisme
▻https://www.actualitte.com/article/monde-edition/la-nouvelle-typographie-de-jan-tschichold-ou-la-page-contre-le-nationalisme/68209
La parution d’un manuel de typographie aux éditions Entremonde, plus habituées à la critique sociale, pourrait surprendre, mais une certaine logique s’opère : comme nombre de ses contemporains, Tschichold combine dans son texte les deux disciplines, qui ne vont pas l’une sans l’autre. Lorsque La Nouvelle Typographie est publié, en 1928, par l’association éducative du syndicat des imprimeurs allemands, le mouvement éponyme s’est développé depuis plusieurs années en Allemagne, par l’intermédiaire du Bauhaus.
Mais c’est véritablement Tschichold, jeune maquettiste et calligraphe né et résident à Leipzig, qui allait concentrer la substance de la Nouvelle Typographie dans son ouvrage publié en 1928, après quelques prémices dans la revue professionnelle Typographische Mitteilungen en 1925. « C’est au cours d’une exposition au Bauhaus de Weimar, en 1923, que Tschichold subit un choc : avec sa formation de typographe, il prend conscience qu’il faut révolutionner la discipline, dans le sillage des mouvements modernistes », rappelle Victor Guégan, qui a achevé une thèse sur Tschichold cette année à l’université Paris IV.
Le Beau Vice: #Black Artists and Modernism matters
▻http://le-beau-vice.blogspot.com/2015/11/black-artists-and-modernism-matters.html
#arts #modernisme
Avant-garde and modernist magazines - Monoskop
▻http://monoskop.org/Avant-garde_and_modernist_magazines
What is the relevance of avant-garde magazines printed on aging paper to a society which views the world in real time and through networked digital lenses? There are two common answers. Regardless of their age, the art they carry can be looked at anew since it is only its techniques that pale, and on the other hand, they provide us with a historical record of several generations of artists and writers. Although what strikes the eye first is a variety of their fabrics and of workings of the page, something estranged from the relentless linearity of digital bits and the UX of the glowing screen. Here, they also remind us that our lenses matter as well, their properties are variables.
Index
This index lists avant-garde and modernist periodicals, first issues of which appeared between 1890 and 1939. Besides serving as an engine of discovery, it is also made to help following bibliographic references to sources. A couple of technical notes.. The ’Online’ column lists freely accessible digitized versions of each magazine; the abbreviations used for digital libraries are listed in the section below. The first column points to the wiki pages with more information about titles which in many cases also contain versions mirrored on Monoskop. Some columns are sortable. Information is sourced from a number of repositories and reference websites. The list is far from being exhaustive [1] [2], preference is given to periodicals accessible online. As with all sections on Monoskop this page is a work in progress and contributions are welcome.
L’urbanisme d’Alger et les pérégrinations intellectuelles de Le Corbusier
▻http://www.contretemps.eu/interventions/urbanisme-alger-p%C3%A9r%C3%A9grinations-intellectuelles-corbusier
Dans ses rapports au pouvoir, ce qui est rappelé par cette actualité éditoriale, les multiples critiques soulignent sa fascination pour le pouvoir. Toute sa vie, il restera fasciné par le pouvoir et l’autorité, même si, comme lui-même l’avoua dans un documentaire diffusé par la chaine franco-allemande Arte, la politique dont il se fait une idée assez flou, ne l’intéresse pas. Ce qu’il a toujours cherché en réalité c’est une autorité qui lui permette de construire sa ville radieuse. Et quand il croit avoir trouvé l’occasion de la réaliser, il adhère aveuglément au régime qui est près à l’écouter. C’est pourquoi il sera fasciné par l’URSS sous Staline et « attendra pendant quelque temps, à l’hôtel Carlton de Vichy, que Pétain l’appelle », note Michel Ragon. Mais ni Staline, ni Pétain n’ont été convaincu par ses théories. Seul Nehru l’a pris au sérieux et il l’a introduit pour diriger la construction de la ville de Chandigar.
Collectif Ogino Knauss (Ogino Knaus est une contraception par abstinence sexuelle durant la période de fécondité)
"Le collectif ogino:knauss a démarré ses activités au milieu des années 1990, sur la scène alternative florentine. La démarche d’ogino:knauss se caractérise par un attrait pour l’architecture et la vidéo. Tout comme les situationnistes, ils partent à la dérive pour explorer les facettes modernistes de nos cités, ces lieux où l’être humain se débrouille avec l’environnement qui lui est imposé. Leur attrait pour des endroits marginalisés et périphériques les a mené à filmer à La Havane, Moscou, Detroit, Berlin, Belgrade, Mexico...
De ces récits de voyage, ils distillent des vidéos, des photos et des performances.
▻http://www.cetri.be/IMG/pdf/142web.pdf
▻http://www.oginoknauss.org
Ogino Knauss is a collective active since 1995. Born as mutant cinema laboratory, acts during the years as a constant drift through audio visual languages and communication practices. The group experiments with VJing techniques as a peculiar form of open narrative, in contrast to the dominant tendency to create video
tapestries as an ornament to musician and DJ s production. Developing its action
at the crossing point between the exploration of etherotopic spaces and the exhibition of disclosing practices of the audiovisual device, Ogino knauss led a steady exploration of new spatial and creative contexts to confront, such as cultural centers, public spaces, temporary occupied zones, art galleries, festivals,dancefloors. Among many others ogi:no knauss collaborated or played live sessions with:
Autechre, Autobam, Vladislav Delay, DJ Ultracore, Masami Akita & Zbigniew Karkowski, Otolab, OTK, Rich Medina, Terre Thaemlitz.
In more recent projects, the attention has been focused on the globalizing urban landscape, applying image production techniques in the attempt to develop innovative listening and description practices about cultural urban processes. Urban explorations leading to performative acts or installations have place in such locations as Florence, Riccione, Berlin, New York, Rome,
Milan, Amsterdam, Thessaloniki, La Habana. The anthological project, Triplicity, focusing on the co-related production of space and image in the evolving global landscape, has been presented
world wide as live performance or installation and has been published as an interactive DVD + book by AVrec.
Tout le site est sous Flash, je ne sais comment exporter photos et vidéos ou meme si c’est possible.Cinéma expérimental, musique expérimentale, c’est riche et vraiment intéressant.
Parallélement le collectif a aussi ouvert blog plus institutionnel dans ses propositions et centré sur un projet unique.
Re:centering Periphery|Ogino Knauss
▻http://www.oginoknauss.org/blog
Monuments oubliés
▻http://www.lecourrier.ch/121317/monuments_oublies
Ceux qui appartenaient à cette branche du mouvement d’avant-garde soviétique, parfois appelée constructivisme, rejetaient le décor et l’ornementation comme propres à la décadence bourgeoise. Ils estimaient au contraire que la forme d’un édifice devait en exprimer la fonction. Souvent influencés par des peintres contemporains tels que Vassily Kandinsky et Kazimir Malevitch, ils repartirent de zéro, avec la composition de formes géométriques de base. Outre Tchernikhov, d’autres architectes innovateurs et visionnaires figuraient parmi les pionniers, comme Constantin Melnikov, Moisei Ginzbourg et les frères Vesnine – Alexandre, Léonid et Viktor. Si, plus tard, l’Union soviétique se ferma aux influences extérieures, les années 1920 furent marquées par un intense échange d’idées avec l’Europe occidentale et les Etats-Unis. Les intellectuels ouest-européens affluaient alors pour voir par eux-mêmes comment le socialisme était mis en pratique. Ce fut le cas notamment de Stefan Zweig, Nordahl Grieg, Bertrand Russell, Walter Benjamin, Arthur Koestler, George Bernard Shaw et bien d’autres. Deux des architectes les plus célèbres du monde, Le Corbusier et Erich Mendelsohn, furent invités à participer à la « construction de la révolution ». Contacts et collaborations se multiplièrent entre architectes occidentaux et soviétiques. Pour Makogonova, les réalisations de Mendelsohn figurent parmi les plus belles. L’usine textile Drapeau rouge, édifiée selon ses idées en 1926, rompt radicalement avec les palais impériaux chargés de fioritures.