The article observes intellectual and cultural level of architecture and its important functions in social process. Historical analysis shows constant decline of intellectual level of profession, as a reaction on radical changes in its social functions and mass scale, leading to degrading of individual critical reflection and growing dependence of architecture to political and economical bureaucracy. ; Культурный уровень профессии архитектора рассматривается как условие развития архитектурной мысли и влияния архитектуры на судьбу социальных процессов. Исторический анализ свидетельствует о неуклонном падении интеллектуального и культурного уровня в профессии, вызванном изменением ее социальных функций и утратой способности к критическому осмыслению происходящих в обществе архитектуре перемен, о растущей зависимости архитектуры от экономической и политической бюрократии.
Methodological issues of historical research on architecture and town planning of the Soviet period are represented in the article within a new paradigm, which is called by the author 'a political history of Soviet architecture and town planning'. Its subject is how architects that became 'government officials' were made dependent on the power, how housing and town-planning policy was predetermined by external circumstances and how designing was considered as production but not as creation. ; В статье формулируются методологические вопросы исторических исследований архитектуры и градостроительства советского периода в рамках новой парадигмы, называемой автором политической историей советской архитектуры и градостроительства. Ее предметом является характер зависимости деятельности архитекторов, превращенных в «государственных служащих» от власти, а также степень предопределенности жилищной и градостроительной политики внешними обстоятельствами, рассмотрение проектирования не как творчества, а как производства.
The author questions the generally accepted definition of architecture as a profession, because the genuine subject of architecture has not been defined yet. The article underlines the systemless selection of subjects studied at architectural schools and an indefinite status of the architect in the democratic society. Either the crisis faced by architecture in the third millennium can finish the transformation of architecture into building design or architecture will acquire a professional status. ; В статье подвергается сомнению общепринятое определение архитектуры как профессии, поскольку подлинный предмет архитектуры не определен. Подчеркивается бессистемный набор изучаемых в архитектурных школах предметов и неопределенность статуса архитектора в демократическом обществе. Кризис, переживаемый архитектурой в третьем тысячелетии, может либо завершить превращение архитектуры в строительный дизайн, либо архитектура обретет профессиональный статус.
For the last five thousand years, the significance of architecture has been constantly decreasing. From the ancient cult, architecture first turned into art, then into a stepdaughter and a servant of the power. The contemporary structures express no common cultural mythology of life and the world. They have no proper effect of reference to sociology or philosophy. Hypothetically, it is possible to return to architecture its fundamental functions erased by the centuries-long verbal culture. ; За последние пять тысяч лет значение архитектуры непрерывно падало. Из древнего культа архитектура сначала превратилась в искусство, а затем в падчерицу и служанку власти. В современных сооружениях не выражается никакой общекультурной мифологии жизни и мира. Не дают должного эффекта обращения ни к социологии, ни к философии. В гипотетической перспективе не исключена возможность возвращения архитектуре ее основополагающих функций, стертых столетиями вербальной культуры.
For the third year in a row on 6th April, the Lithuanian Architects' Union opened the 24-exhibit exhibition contest for creative drawings \"Shocked Architecture\" and announced the winners. The subject of the contest posed the question of how to contemplate and visualise the dramatically changing ecological, social, cultural, political and economic circumstances under which architecture exists. Throughout the history of the contest, this subject has never attracted such a wide array of student outlooks, with this year's works being both aesthetically and intellectually intense. Because of such strong and multifaceted potential shown in the pieces, the commission had the particularly complicated task of picking out the authors worthy of the main and consolation prizes. The first prize was awarded to the creation that was declared the most conceptually pure, submitted by Gabriele Cerniavskaja, a third-year student at the Faculty of Architecture in VGTU, inspired by a \"shocking\" discovery on the wall of a building at Boksto g. 12A.
For the third year in a row on 6th April, the Lithuanian Architects' Union opened the 24-exhibit exhibition contest for creative drawings \"Shocked Architecture\" and announced the winners. The subject of the contest posed the question of how to contemplate and visualise the dramatically changing ecological, social, cultural, political and economic circumstances under which architecture exists. Throughout the history of the contest, this subject has never attracted such a wide array of student outlooks, with this year's works being both aesthetically and intellectually intense. Because of such strong and multifaceted potential shown in the pieces, the commission had the particularly complicated task of picking out the authors worthy of the main and consolation prizes. The first prize was awarded to the creation that was declared the most conceptually pure, submitted by Gabriele Cerniavskaja, a third-year student at the Faculty of Architecture in VGTU, inspired by a \"shocking\" discovery on the wall of a building at Boksto g. 12A.
Purpose: of the article is to prepare evidence-based proposals for the formation of document architecture, strategic planning, fundamental for modern needs and ensuring the integrity of the strategy for all levels of government and business, as well as to ensure the implementation of the principles of unity, integrity, continuity, continuity and delineation of powers in organizing and system functioning, strategic planning as part of a single management cycle. In the framework of the task of creating the architecture of documents, strategic planning also solves the important task of linking issues of socioeconomic development and ensuring national security, and as a result – improving the efficiency of public administration, ensuring coherence and coordination of the country's strategic priorities. Methods: the main method of work is the disclosure of the principles of strategic planning. The architecture of strategic planning documents under development is based on the disclosure of regulatory acts of the Federal Law dated 28.06.2014 N 172-FZ "On Strategic Planning in the Russian Federation". Results: the absence of normatively fixed principles and a system for ensuring strategic planning, as well as the procedure for implementing strategic planning, leads to inconsistency of the approved strategies and forecasting, the development of new documents and studies in the Federal Law "On Strategic Planning in the Russian Federation" and other violations of the systematic approach. In this regard, it is necessary to determine the architecture of the system of strategic planning documents developed as part of the target definition, forecasting, planning and programming.Conclusions and Relevance: the architecture of strategic planning documents proposed in the article is based on the creation of a three-level document system with a central place in it the National Security Strategy of the Russian Federation as the main document of strategic goalsetting. In accordance with Federal Law N 172-FZ, the level of forecasting, target definition, planning and programming allows you to add a conceptual level that ensures the quality of the overall ideological superstructure, which should provide an idea of what kind of character for the state and its position in the world the strategic planning system should provide. Taking into account the task of minimizing amendments and clarifications to the Federal Law "On Strategic Planning in the Russian Federation", the proposed changes are more in the nature of clarifying the provisions of this law. The architecture of the documents built in this way will allow implementing and, if necessary, further detailing the principles of strategic planning defined by law 172-FZ and, above all, the principles of continuity, balance of the strategic planning system. ; Цель статьи – подготовка научно-обоснованных предложений по формированию архитектуры документов стратегического планирования, основанной на современной потребности упорядочивания стратегирования на всех уровнях власти и бизнеса, а также на задаче реализации принципов единства, целостности, преемственности, непрерывности и разграничения полномочий при организации и функционировании системы стратегического планирования в рамках единого управленческого цикла. Для достижения поставленной цели также решается важная задача по увязке вопросов социально-экономического развития и обеспечения национальной безопасности, а как следствие – повышения эффективности государственного управления посредством согласования и взаимоувязки стратегических национальных приоритетов с его целями и задачами, направленными на обеспечение устойчивого и сбалансированного социально-экономического развития Российской Федерации. Метод или методология проведения работы. Исследование основано на использовании метода системного анализа, применение которого позволило раскрыть принципы стратегического планирования. Разрабатываемая архитектура документов стратегического планирования опирается на раскрытие определенных Федеральным законом от 28.06.2014 № 172-ФЗ «О стратегическом планировании в Российской Федерации» принципов стратегического планирования во всех сферах, включая вопросы национальной безопасности страны.Результаты работы. Отсутствие нормативно закрепленных принципов организации и функционирования системы стратегического планирования, а также порядка осуществления стратегического планирования приводит к несогласованности утверждаемых стратегий и прогнозов, появлению новых документов, не учтенных в перечне документов стратегического планирования в Федеральном законе «О стратегическом планировании в Российской Федерации», и другим нарушениям системного подхода. В этой связи одним из первых шагов на пути к формированию системы стратегического планирования в РФ должно стать определение архитектуры системы документов стратегического планирования, разрабатываемых в рамках целеполагания, прогнозирования, планирования и программирования.Выводы. Предложенная в статье архитектура документов стратегического планирования основана на создании трехуровневой системы документов, с центральным местом в ней Стратегии национальной безопасности РФ как основного документа стратегического целеполагания. К закрепленным в 172-ФЗ уровням прогнозирования, целеполагания, планирования и программирования предлагается добавить концептуальный уровень, в качестве общеидеологической надстройки, которая формирует представление о том, какой будущий образ государства и его положения в мире должна обеспечить система стратегического планирования. Учитывая задачу минимизации поправок и уточнений в Федеральный закон «О стратегическом планировании в Российской Федерации», предлагаемые авторами изменения носят в большей степени характер уточнения положений данного закона. Выстроенная указанным образом архитектура документов позволит реализовать, а при необходимости в дальнейшем детализировать принципы стратегического планирования, определенные законом 172-ФЗ, прежде всего, принципы преемственности, непрерывности и сбалансированности системы стратегического планирования.
Many critics consider Richard Serra the leading sculptor of the 20th century. He is famous not only for inventing something new in sculpture (abstract sculpture compositions existed before him, having been opened by constructivist vanguard of the beginning of the 20th century). Material selections by Vladimir Tatlin and sculptures by Osip Tsadkin, as well as compositions by Henry Moor appeared before Serra. Serra is famous for transferring his works' accent from the works as they are, which could be installed in any place, to their environment. That is he saw in the sculpture a key to understanding the urban space. His crude metal sheets and profiles, rectangular and curvilinear, exceeding regular scale of sculpture, come closer to architecture. Richard Serra places them near architectural constructions as checkpoints of intermediate scale category of space located between so-called «street furniture» – lamp posts, stalls, fountains and benches – and buildings, especially huge modern ones.But the matter is not only in the scale. Serra's sculptures are not only abstract compositions that harmoniously add to the space with their spacious scale. They have some mystery, some implicit sense appearing before a pedestrian as an enigma. Their mystique opposes both street furniture and architecture. But first of all it opposes the historical sculpture with its enigma always overshadowed by historical or biographical topic. Krylov's sculpture in the Summer Garden or Minin and Pozharsky's monument on the Red Square do not strike us, because we know that those monuments are erected IN COMMEMORATION of prominent people, as fellow citizens' tribute to their great contribution to the national history. But the crude metal sheets welded at different angles – what are they for? Who needs them?As an art critic, Edward Goldman, said, fame came to Richard Serra in 1989, when the sculpture composition Tilted Arc erected eight years before it was demolished by request of the public, that did not understand its sense and was exasperated with the obvious absence of this sense. However, Serra sees his sculpture's sense not only in its filling a scale gap in the environment, but also in its instigating a man to think and to concern the environment and the space as a problem, linking this problem with a problem of human's being. Is there any other way to explain the public's indignation? Serra's sculpture compositions do not obstruct pedestrian flow and do not offend anyone's dignity or memory, do they? They act as Zen koans, as if mutely asking a spectator about the sense. Not knowing the answer, the citizen gets exasperated – not with his inability to answer, but with the sculptor (or city government), imposing this enigma to him. Only children are always happy to get an enigma. They like to train their mind in determining the sense, because they believe in the sense of being and consider themselves successors of this sense. A grown-up member of the state, both of a totalitarian one and of one with a market economy, loses this ability, believing neither in God nor in devil, neither in state officers nor in heroes. He only gets annoyed when reminded about a sense. This irritation can be explained in terms of a conflict between conviction in his right to freedom and real feeling of his fatality. He is not disposed to play with the world and the artist. He is willing only to take sedative pills, cheering drinks and all kinds of flattery. Seeing a hero made of bronze or cast iron, he feels free either to share his respect towards the hero, or to spit upon the false idol. In both cases the sense realized by him remains in his power. When this sense escapes, the illusion of his power disappears too, in other words the illusion of his rights in this world where he is kicked by those who have more power and rights.Reasoning from quite Utopian ideals of Democracy, Richard Serra believes that to train such play of mind is as necessary as to brush teeth or to button a shirt. A man with this ability not functioning falls out of the society, officially remaining its member though.But there is also another aspect – relation of such enigmas to architecture. Architecture differs from Richard Serra's sculptures not only in scale. The difference is also in the fact, that, being a plastic object like an abstract sculpture, architectural composition has social and functional status, and therefore it does not represent any special enigma. Looking at a grand construction we understand that it is a City Administration, or a Bank, or a Library, or a Museum, or… whatever having its own socially approved status and sense never doubted. So, one can treat it either with respect or with hatred, not losing the feeling of ability for sense orientation. But Serra's sculptures sometimes lead to this.Nevertheless, architecture has turned out to be sensitive to such things and it currently tries to propose an enigma to a citizen instead of suggesting its status. The Guggenheim Museum in Bilbao or the Hundertwasser Viennese House in this regard come closer to sculpture, as if crushing differences between architecture and fine arts and making needless an artistic gesture such as Serra's. The question is to what extent this architectural aping is appropriate. Or maybe it is better to leave the sense space to the sculptor, focusing on the senses peculiar to architecture, which are claimed neither by Serra nor by his possible progeny. Evidently Serra experienced those problems himself, appealing to the authorities and searching for their support. Probably he was looking for support not only as an artist in need of a client, but also as an artist confronting social determinancy of architecture in urban environment. Thus he was indirectly returning to architecture its sense space, which architecture is currently ready to play with, forgetting about its sense limits. So it is a big question: whether his sculpture does harm to architecture with its competition with the latter or releases it from plays that are not appropriate to it in order to perform its maybe more sublime mission – not only to ask but also to answer the questions on the sense of being?However, solution of this problem is to what extent architects and their clients are ready to give such answers, to what extent these answers are sincere and realistic, and to what extent the society is ready to ask itself about the sense of its own being. But it is another topic.
The article analyses the problems of architectural education, mechanisms of formation of architectural schools, their peculiarities depending on concrete social and cultural goals. The author focuses on the notions of academic and non-academic school, as well as the interrelation between architectural practice and university leadership. He draws comparisons between world and Russian experiences and describes the personalities of the leaders of architectural schools of different theoretical and socio-cultural types. He proposes a wide interpretation of the current development of the global and the local as cultural paradigms that absorb essentially close, but also internally contradictory attributes that compose a dialectical unity and contradiction. The article describes Russian versions of regional architectural practices, interaction of architectural theory and practice with political power and business, as well as relations between the capital and the province. ; Анализируются проблемы архитектурного образования, механизмы формирования архитектурных школ, их особенности в зависимости от конкретно-социальных и культурных задач. Предметом изложения автор делает понятия учебной и неучебной школы, соотношения архитектурной практики и университетского лидерства. Проводятся параллели между мировым и российским опытом, описываются личности лидеров архитектурных школ разных теоретических и социально-культурных форматов. Предлагается широкое толкование глобального и локального в современном развитии как культурных парадигм, вбирающих сущностно близкие, но и внутренне противоречивые признаки, образующие диалектическое единство и противоречие. Описываются российские варианты региональных архитектурных практик, взаимодействие архитектурной теории и практики с политической властью и бизнесом, отношения столицы и провинции.
Mark Meerovich proposed a model of Soviet history of architecture and town-planning based on the principles of Georgy Petrovich Shchedrovitsky's activity theory. Georgy Petrovich's students used these principles as a baseline for articulation of the issue and handling of the situation. That is why the analysis of the Soviet housing legislation, which defines the character of solutions and the activity on different levels, enabled Mark Meerovich to see architectural and town-planning problems from another point of view. He formulated a holistic concept of Soviet principles of settlement, explained the reason of the failure of the idea of the garden city in the USSR and showed the principles of arrangement of "socialist cities", described the phenomena of "labour and household teams" and communal housing, and demonstrated the Soviet mechanisms of people management. Meerovich introduced for scientific use a lot of unknown materials concerning the activity of prominent Soviet and foreign architects of Stalin's era. ; Марк Меерович предложил модель советской истории архитектуры и градостроительства, выстроенную по принципам теории деятельности Георгия Петровича Щедровицкого. Принцип деятельности для учеников ГП был исходным для постановки проблем и ориентации в ситуации. Именно поэтому анализ советского жилищного законодательства, определяющего характер принимаемых решений и деятельности на разных уровнях, дал ему возможность выстроить целостную концепцию советских принципов расселения, объяснил провал идеи города-сада в СССР, показал принципы организации «соцгородов», описал феномены «трудо-бытовых коллективов» и коммунального жилья, а также показал советские механизмы управления людьми. Меерович ввел в научный оборот огромное количество неизвестных материалов, касающихся деятельности выдающихся советских и иностранных архитекторов сталинской эпохи.
"The Image of the City" by Kevin Lynch gave rise to the environmental approach, which expressed demographic values. In the environmental approach, architecture of a separate structure merged with the city, losing its aristocraticism and transcendental isolation. The word "lynching" is used in wordplay and means a democratic trial of the aristocratic architecture. The environmental approach results in the death of architecture. ; Книга Кевина Линча «Образ города» положила начало средовому подходу, который был выражением демократических ценностей. В средовом подходе архитектура отдельного сооружения сливалась с городом, теряя свою аристократичность и трансцендентную обособленность. Игра слов «Суд Линча» обозначает демократический суд над аристократической архитектурой. Результат средового подхода – гибель архитектуры.
