zbornik arhitektura ≠ umetnost
The Silences of Mies (Sven-Olov Wallenstein)
The Singular Objects of Architecture (Jean Baudrillard, Jean Nouvel)
Jean Baudrillard, Jean Nouvel: The Singular Objects: Architecture and Philosophy In a world where art is increasingly being replaced by the cultural industry with all of its neutralising and aestheticizing effects, the singular object takes on the form of a paradoxical and conflicting object: it is at once a product of culture and its destroyer, an object of nostalgia and anticipation. As Duchamp once described the characteristics of his ready-made – there is nothing particularly aesthetic about it, it would be hard to assign it a quality of beauty or ugliness. This is not a matter of taste, but a question of an operation in culture, a sign, which takes on the form of an object-event. “Architecture interests me as pure event, you said…” – “This is what interests me and what makes me wonder…” But what could such an event be? What else, if not an inexplicable break which intervenes into our coordinates of perception, understanding and action. Call it the object-stain: not something that strikes the eye independently from its background, but as something which stirs the previously invisible background, that which upsets and exposes the order upon which it is inscribed. (excerpt from the foreword to the Slovene translation)
Ruin as an Architectural Object (Miloš Kosec)
The book addresses ruin discourse and its meaning for architecture. It overrules the common held perception of the ruin as a primarily romantic fascination. It links the birth of fascination with ruins with the birth of modernity in the 18th century. The nature of modernity is the key to understanding ruins. Fascination with ruins starts as a favorite motif of the aristocratic picturesque gardens and slowly evolves into one of the main signs of progress, being both a symbol of hope and an allegory of the dark side of the modernity, which culminates in the nazi theory of ruin value and mass bombings of the Second World War. After the war the ruin becomes one of the centers of attention in fields of art and philosophy. Not so in architecture - one of the main reasons might be the unwillingness of architecture to acknowledge main problems of modernity that are so apparent in ruins. That is why the end of the work is dedicated to some of the properties of the ruin as an independent source of fascination. The analysis ends with an attempt of critique of the contemporary state of architecture, especially with regards to the problem of the total planning in modernity.