Современная архитектура мира
Japan experienced intensive process of industrialization and urbanization
following during the first half of the Twentieth century. These processes were accompanied by a transformation of the Japanese society and lifestyle patterns expressed in domestic architecture and planning ideas. The Meiji Restoration of 1868 brought a dichotomy of traditional patterns, which were considered as “pre-modern” to western-style patterns of living, which were considered as “modern”.
This paper examines the design and development of Kunitachi-city in for Tokyo suburban, which dated to 1926. The study of urban development in permits to find what “modern” ideas were installed into urban planning and dwelling architecture, and what impact did it cause to domestic routine.
Interactions of architecture with social sciences during the Soviet period (from 1920th on) are analyzed including impact of social knowledge upon architecture and planning decisions. The study is based on review of relevant periodicals, collections of texts and monographs on architecture and urban sociology.
The publication is devoted to various aspects of the history of Paris XVI-XVIII centuries. Particular attention is paid to the functioning of the municipal administration, the forms of social control, reconstruction projects and decorating the city in accordance with the requirements of the era.
According to interdisciplinary theory of architecture and sociology by A. Amin and N. Thrift, presented in their book Cities. Reimagining the Urban, the light sociality is the main way of individuals interaction in city space. In this context, consumption appears to be one of the basic forms of individuals self-expression on one hand, and on the other hand - one of the basic forms of urban communication. We deal with consumption in its general meaning - as a complex of all individuals consumption-related practices that are transparent in space of light sociality. Consumption practices become agents of light sociality, producing ambivalent encounters that emotionally affect individuals realizing those practices, and those who observe them. In this way consumption takes part in governmentality of the city spaces.
The article explores the projects of northern towns with artificial micro-climate created by architects from the Leningrad branch of the Soviet Academy of construction and Architecture in the 1960s. The analysis of discussions among Leningrad architects about the necessity to change living conditions for the population on arctic settlements reveals broader issues of social changes during the Thaw period, when the topic of everyday environment of the population and plans of its ‘rational’ reorganization had come to the fore in many research fields, including Soviet architecture.
This about barrier technologies in urban spaces.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.