In ancient Greece ‘school’ initially meant leisure, but gradually became the word for a way of spending time which involves transfer of knowledge. Philosophical schools arose which took the form of conversations directed at acquiring the truth. Schools took shape as systems (traditions) …
Cities are boring; they no longer contain any mystery. Even on advertising billboards, that “last refuge of humour and poetry”, it’s increasingly difficult for us to distinguish mystery, wrote Ivan Shcheglov, the prophet and ‘mad diamond’ of situationism in Formulary for a New Urbanism (1953).
The Finnish architecture critic Juhani Pallasmaa has said that one of Aalto’s principal design methods was collage. This Avant-garde principle was the principle Aalto used in creating the composition for Villa Mairea, a project which he saw as a prototype for living space for generations to come in the future classless society.
Think of a landscape, and you inevitably imagine a wild place in which, in keeping with the tradition of landscape painting, human beings and architecture occupy only a small space, compared to the enormous world which surrounds these subjects.
‘The big buildings collapsed immediately. The shanties remained unharmed,” predicted Vasily Kandinsky in his poem ‘The Bassoon’. Our time is witness to the construction of, above all, ‘big buildings’. Continuing urbanization is causing cities to grow; St Petersburg, Helsinki, and capital cities of the Baltic states are expanding.
At a conference, taking place in Tallinn on April 21-22, architecture’s turn to nature and data will be explored from political and historical perspectives. Keynote speakers are Matthew Gandy and Douglas Spencer from the UK. The conference is organised by the
On May 15th Nikolay Polissky, Russia’s best-known land-art artist, gave a lecture entitled ‘Art Kolkhoz’ in the Pavilion at Novaya Gollandiya, as part of the Genius Loci series of talks organized by Project Batlia and the ‘Novaya Gollandiya: cultural urbanization’ project. Marina Nikiforova talked to Nikolay Polissky about the nature of art and his work with the farmworkers in the village of Nikola-Lenivets.