Aphrodite, Athena, Mercury, and Hercules are all interesting characters from Greek Mythology, and William Moulton Marston makes it clear that their powers now "fight for America" in World War II. Wonder Woman's "Merciful Minerva!" uses the Roman name for Athena, and it is clear that her physical power and skill with weaponry is based on the ancient goddess. Wonder Woman's origin story uses the ancient Greek in exactly the same way the philosopher Georg Wilhelm Friedrich Hegel does in his Philosophy (...) of History. Hegel outlined his theory of history as a threefold progression. In the first stage, only the despot was free; in the second stage, the Greeks discovered that some are free; and in the third stage, the stage of the modern world, we know that all are free. The Wonder Woman origin story goes through the same three major stages, and uses the Greeks in that crucial second stage. (shrink)

This paper addresses the relations between art and everyday life in the city from the vantage points of urban aesthetics and sociology, where the “city” refers as well to a normative world. The aim is to show how art/artistic life contributed to the normative change and new urban lifestyles. First, I focus on Baudelaire’s theory of beauty and life in modern metropolis or the city as “poetic object” and dandyism as an art of the self, seen as a (...) crucial normative change: the emergence of new norms of excellence and art of living, such as creativity and self-fashioning. Second, I discuss a recent yet related normative change, described by Boltanski and Chiapello as a passage to the “project-oriented city”, seen as a new way of working and living that fuses cultures of creativity and uncertainty. Third, I tackle the “creative city” hailed by Florida, where the creative lifestyle of “creative people” is the new mainstream setting the norms for society: individuality, diversity and openness, but also impermanent relationships and loose ties. I will argue that extending the hyper-mobile and flexible creative lifestyle from the extraordinary figure of the artist to ordinary people, as everyday urban life, triggers both benefits and risks. (shrink)

J. Robert Oppenheimer, a leading physicist in the Manhattan Project, recognized that scientific inquiry and discovery could no longer be separated from their effect on political decision-making, social responsibility, and human endeavor in general. He openly addressed issues of common concern and as a scientist accepted the responsibility brought about by nuclear physics and the atom bomb. In this collection of essays and speeches, Oppenheimer discusses the shift in scientific awareness and its impact on education, the question of openness in (...) a society forced to keep secrets, the conflict between individual concerns and public and political necessity, the future of science and its effects on future politics---in short, the common and uncommon sense we find in our modern day reality. (shrink)

More akin to the Roman Empire’s concept of civitas mobilis augescens, the distinction between the twentieth-century metropolis and the Roman model of a city must be sought in the eminently biopolitical character of the modern-day post-metropolis, conceived by Hardt and Negri as the new hegemonic paradigm of production. As a result, the primacy of time over space has been established as the only possible way of measuring the proximity of productive relationships: everything that can be converted into (...) information is instantaneous and the value of goods depends not on the requirements of its production process but on the cost of its transportation. As a kind of Phenomenology of the Urban Spirit, this paper develops the main milestones in the historical unfolding of this Logic of the Absolute Urban Spirit. (shrink)

This book explores the thought of - and is dedicated to - David Frisby, as one of the leading sociologists of the late twentieth and early twenty-first centuries. Presenting original examinations of his unique social theory and underlining his interdisciplinary approach to the critical interpretation of modern metropolitan society and culture, it emphasises Frisby's legacy in highlighting the role of the social researcher as a collector, reader, observer, detective and archivist of the phenomena and ideas that exemplify the (...) class='Hi'>modern metropolis as society. With contributions from sociologists, historians of the city, urban geographers, cultural theorists, architectural historians, architectural theorists and urban designers, The Detective of Modernity constitutes a wide-ranging engagement with Frisby's profound legacy in social and cultural theory. (shrink)

Introduction. In the history of philosophy we find a lot of philosophical practices that can be implemented in the university environment for students and outside the university for a wide audience. The Philosophical Walk is one of such practices. During a walk philosophy can become truly humane, turn to a person, his world, and everyday life. The purpose of the study is to comprehend the potential of a philosophical walk as a way of philosophical practice, a format of a (...) class='Hi'>modern person’s self-knowledge and the implementation of self-care, available to a wide range of people without special philosophical education.Methods The research is based on the comparative historical method, the method of interpreting the texts of philosophical primary sources and the systematic approach. The study presents and analyzes an experiment in the context of which residents of a large city go on a philosophical walk in order to take care of themselves. Scientific novelty of the research. In theoretical terms, philosophical walk is conceptualized. In practical terms, the analysis of the effectiveness of a philosophical walk as a way of a large city resident’s self-care is carried out. Results. A philosophical walk is a form of group philosophical practice, in the context of which the participants become guided (literally and figuratively,) by the facilitator. In the summer of 2020, the authors of the article organized a series of walks, each of which was attended by 8 to 12 people who had not have direct contact with philosophy in their everyday life, in the educational and professional spheres. In September 2020, the participants of the walks were offered a questionnaire consisting of closed and open questions. According to the respondents’ answers, a general picture of the effectiveness of a philosophical walk as a form of self-care for a modern metropolis resident was drawn. Conclusions. We understand the philosophical walk as a kind of “place”, a space of calm and harmony for a person of the XXI century. A resident of a big city lives in constant noise. The events of 2020 have increased the noise and accompanying stress. A philosophical walk, in turn, within the boundaries of the same city creates an atmosphere for a person to meet with himself. With the help of an external plan (forest environment, clean air, sounds of nature) and a philosophical plan (concentration over the text, dialogue with a philosopher and a group), the meeting participant can formulate the life-meaning questions that concern him and start looking for answers. (shrink)

This article was first published in MODERNISM / modernity, Volume 14, number 2, The Johns Hopkins University Press, 2007, pp. 225–248. It can also be found online here. - 1er XXe siècle – Nouvel article.

In times of modern information technology, the world of science is becoming smaller. Does this mean that there will be no more provinces? We do not think so. Setting out from Leszek Nowak's thought “province is where one thinks not on one's own account but on account of another,” we indicate a number of processes that perpetuate provinces. These processes are driven by specific access to scientific knowledge, by education, by new forms of communication, by shortage of financial support (...) and the concentration of resources. We look at the interplay between criteria of theory choice and location on the scientific map. Next, we explore the connection between geo-social and scientific provinces, taking into consideration political and cultural parameters. The conceptual framework of metropolises and provinces in science turns out to be, though not all-embracing, an extremely fruitful one. (shrink)

Is there a connection between power struggles and urban context? How the urban space used for the symbolic manifestation of power and social control? How urban space becomes the site of conflict and resistance? How urban nodes like squares became political apparatus in social demonstrations and revolutions? How do specific squares become symbols of revolutions? This thesis investigated these questions by viewing the city as a place formed by politics, which built upon the central concept of Meydan (Public Square), as (...) the "political order in the ideogram of the city". Focusing on public squares, it traces their sociopolitical transformations as well as their role in instigating social transformations through examples that span from the pre-modern times to the present. As the embodiment of the square in the image of the city, the historical, social and theological concept of Meydan- a term, which has mostly applied, for Iranian public squares has been studied. The Empty Locus of Power rereads squares as peculiar urban forms and representations of political ideas, when the squares of the city has become the stage for the process of politicizing, de-politicizing or neutralizing space. This thesis tries to analyze the square beyond an architectural element in the city, but weaves this blank slate, with its contemporary socio political atmosphere as a new paradigm. This interpretation, suggested the idea of Meydan as the core of the projects on the city, which historically exposed in formalization of theological ideologies. Regarding this issue, urban space of traditional Iranian cities introduced as the medium through which theological ideologies and political sovereignty took place. In pursuing such analyses, this research engages with issues ranging from details of political histories of the case studies in public squares to the master plan of the city of VIII Tehran. During the recent century, various political events and social demonstrations have been staged in Tehran as Middle Eastern Capital, which emphasize the further discussions for analyzing the relationship between socio-political dimensions of city and its urban projects that ultimately led to occupy the city and reclaim the public spaces in Iranian Islamic Revolution of 1979. In this sense, analyzing the major political events in modern Tehran as a city loaded with politics will lead to trace the processes of its spatial transformation. In this regard, the thesis examines the relationship between affordances of public spaces, their histories, and the emergence of social events and movements. Building on this theoretical framework, this thesis stresses on the transformative dynamism of autocratic modernization, which motivate or shape a creative tension in the form of the city. The emergence of representative pseudo political public space for demonstration of power and national identity during the First Pahlavi Era (1925-41), reoccupation of public spaces by social movements and political parties during the nationalization of Iranian oil movement till 1953 Iranian coup d'etat will be the second part and socio- political arrangement of capital as ‘Metropolis of Tomorrow' and its urban transformation during the second Pahlavi Era (1941-79) till Islamic Revolution have been examined. Analysis suggests that spatial transformations and modernization politics have led to or facilitated (directly or indirectly and, or inadvertently) political changes. Building on the foundation of knowledge established in this research, the final part of research focuses on the centrality of squares in recent social protests. Using Middle East sociologist, Asef Bayat's theory of ‘Spatialities of discontent', the final chapter explores the spatial dimension of political spaces of the city and aims to theorize the necessity of urban social movements to approach democratic space in a global context. (shrink)

The literature of modernity, describing the fleeting, anonymous, ephemeral encounters of life in the metropolis, mainly accounts for the experiences of men. It ignores the concomitant separation of public and private spheres from the mid-nineteenth century, and the increasing segregation of the sexes around that separation. The influential writings of Baudelaire, Simmel, Benjamin and, more recently, Richard Sennett and Marshall Berman, by equating the modern with the public, thus fail to describe women's experience of modernity. The central figure (...) of the flâneur in the literature of modernity can only be male. What is required, therefore, is a feminist sociology of modernity to supplement these texts. (shrink)

Gillian Piggott's study of the resonances between the work of Charles Dickens and Walter Benjamin arrives in the wake of an increasing critical interest in Benjamin's life and thought, as an array of books from Graham Gilloch's Myth and Metropolis: Walter Benjamin and the City (1996) to Esther Leslie's biographical Walter Benjamin (2007), and beyond, makes clear. While many critics have addressed Benjamin's importance to discussions of nineteenth-century modernity, Piggott's is the first booklength attempt to compare Benjamin and Dickens. (...) Fler goal is to produce a "creative comparison of the authors' responses to modernity" (4) rather than establish direct lines of influence, though she points out that Benjamin was aware of at least some of Dickens's work, particularly The Old Curiosity Shop and Great Expectations (11), and included fifteen entries about him in the Arcades Project (1927-40). (shrink)

The origins of Vico's social theory : Vichian reflections on the Neapolitan Revolt of 1701 and the politics of the metropolis -- Vico's cosmopolitanism : global citizenship and natural law in Vico's pedagogical thought -- Vico's social theory : the conundrum of the Roman metropolis and the struggle of humanity for natural rights -- From social theory to philosophy : Vico's disillusions with the Neapolitan magistracy and the new frontier of philosophy.

The Weimar-Republic, and the modernist architecture and planning that was born there, is still a contested place, from whence liberals, reactionaries and Marxists can all trace their lineage. Sabine Hake’s Topographies of Class attempts to clarify this contestation, through an interdisciplinary study of the modernist geography of the interwar-capital, Berlin. The book offers many new insights into the Weimar-era city, countering a tendency on the Left to reject the twentieth-century city in favour of the romanticised ‘capitals of the nineteenth century’, (...) with their insurgent proletariat and their lushly ornamented boulevards. Topographies of Class is a reminder that, irrespective of the era’s rejection of ornament and romanticism, it was a site of class-struggle as intense as that of the Paris of the 1870s. However, Hake’s study is dominated by a conception of class as an ‘identity’, akin to the identity-politics of race or gender, leading to an argument centred on the suppression or expression of ‘class-difference’ rather than class-struggle. In the process, her reading of the city’s modernism becomes overly one-sided, as a period of tension between labour and capital is read, under the influence of Manfredo Tafuri and Italian post-Marxist architectural theory, as being governed almost solely by the logic of Fordist capital. (shrink)

The article fits into the debate regarding space, time and nature in dialogue with the world lived by subjects that build up themselves or are built as mythological heroes, source of speech and spacial concrete practices. It's a poorly explored field in Geography that recently approaches to the cultural dynamic debate, to the symbolic field and also to their spacialization processes. The aim is to discuss the possibility of understanding in the present time about the space organization processes related to (...) the society's previous moments, in a space/time dialectics which articulate the present and past times in a complex and non linear way. Methodologically, starting from a literature review about the theme, the present study was linked to the field and documental research about migration to the vicinal ways of Transamazônica Highway (BR-230 Highway), the creation of the "Centro Espírita União do Vegetal", a religion that arises in the Amazon and set up its headquarters in Brasília and the construction of Brasilia as a modern metropolis without a past. The conclusion points at the possibility of space/time nexuses linking the Myth of Nature to the Creation of Heroes, constantly appropriated and with new meanings, in order to support speeches and new actions dialectically throughout the Brazilian contemporaneous space. (shrink)

The essay discusses the philosopher and sociologist Georg Simmel’s theorizing about the individual. Whereas it is typically within the context of the modern metropolis and the mature money economy that Simmel’s ideas have been discussed in the secondary literature, I render those ideas in another light by addressing the ontological and existential issues crucial to his conception of the individual. In Simmel, the individual is divided between the “what” and the “who,” between the qualities which make one something (...) individual and one’s non-repeatable and finite existence which makes one someone singular. I argue that whereas the first dimension can be understood sociologically, in terms of social relations, the latter is not accessible to sociology as such, but must be treated philosophically. Therefore, if we wish to address this duality that lies at the heart of individuality, a “philosophical turn” for sociology is called for. (shrink)

In the 1920s, London was a city on the cusp of change. Just as dance halls and jazz-age decadence displaced wartime austerity, a new generation of artists and designers sought to enliven the city's architecture, erecting dazzling buildings in the emerging art deco style. In contrast with the aging Victorian structures that dotted the city, these bright and colorful buildings--from the Hoover factory to the Ideal House by Raymond Hood, who later designed New York's Rockefeller Center--communicated the city's aspirations as (...) a thriving, modern metropolis. In the decades since, London's art deco buildings have lost none of their appeal. Millions of visitors gaze up at the headquarters of the Daily Telegraph and the nearby Daily Express, take in the elegance of Eltham Palace, or sip a martini at the Savoy. The city's most popular art deco attraction, however, is the London Underground, which boasts a series of art deco and modernist stations, designed throughout the 1920s and '30s by noted architect Charles Holden. In Modernism London Style, architectural historian Christoph Rauhut, with the help of three hundred photographs by Niels Lehmann, captures the architectural art deco heritage of London in a thrilling photographic tour. A portrait of the city during the interwar years, it chronicles the creativity of the artists and designers of the period--and the currents in the city's culture that helped shape their work. Insightful essays and an introduction by architecture scholar Adam Caruso shed light on some of the key features that characterize art deco, from floral and animal motifs to Egyptian themes. For readers planning a trip to London and hoping to place these striking buildings, the book also includes a detailed register and maps. (shrink)

This article develops a sociological reading of Walter Benjamin’s ‘Arcades Project’, or Passagen-werk . Specifically, the essay seeks to make explicit Benjamin’s non-dualistic account of structure and agency in the urban milieu. I characterize this account as the ‘dialectic of urbanism’, and argue that one of the central insights of Benjamin’s Passagen-werk is that it locates an emergent and innovative cultural form - a distinctive ‘street culture’ or jointly shared way of modern urban life - within haussmannizing techniques of (...) architectural administration and spatial domination. In the modern metropolis, Benjamin sees a new kind of collective - an embedded and effervescent sociocultural group held together not by the functionalist imperatives of capitalist urban planning but by an improvisational mode of street life. Key Words: agency • culture • embeddedness • structure • urbanism. (shrink)

Alfred Hitchcock’s first cinematic success, The Lodger (1926, silent), provides a case study of contagious violence in the modern metropolis. The film is ostensibly a crime thriller centered on the search for the Avenger, a serial killer modeled on Jack the Ripper. But Hitchcock raises the stakes by introducing a love plot in which the detective and the suspected killer compete for the same woman, who may or may not be the slayer’s next target. In the course of (...) this triangular struggle, the hostility between rivals for the same object of desire escalates to the point of eroding any secure distinction between the cop and the killer, innocence and guilt, legal authority and criminal transgression. As if in homage to .. (shrink)

Alongside his work as a practising architect, Sigurd Frosterus (1876–1956) was one of Finland’s leading architectural critics during the first decades of the 20th century. In his early life, Frosterus was a strict rationalist who wanted to develop architecture towards scientific ideals instead of historical, archaeological, or mythological approaches. According to him, an architect had to analyse his tasks of construction in order to be able to logically justify his solutions, and he must take advantage of the possibilities of the (...) latest technology. The particular challenge of his time was reinforced concrete. Frosterus considered that the buildings of a modern metropolis should be constructivist in expressing their purpose and technology honestly. The impulses of two famous European architects – Otto Wagner and Henry van de Velde – had a life-long influence on his work. Urban architecture with long street perspectives and houses with austere façades and unified eaves lines was the stylistic ideal that he shared with the Austrian architect Wagner. An open and enlightened urban experience was Frosterus’s future vision, not National Romantic capriciousness or intimacy drawing from the Middle Ages. According to Frosterus, the Belgian van de Velde was the master interior architect of the epoch, the interior of the Nietzsche Archives in Weimar being an excellent example of his work. However, already in the 1910s Frosterus’s rationalism developed towards a broader understanding of the functions of the façades of business edifices. In his brilliant analyses of the business palaces by the Finnish architects Armas Lindgren and Lars Sonck, he considered the symbolic and artistic values of the façades to be even more important than technological honesty. Moreover, references to the history of architecture had a crucial role in the 1920s and 1930s when he wrote about his main work– the Stockmann department store in the centre of Helsinki.  . (shrink)

Whybrow's interdisciplinary collection of urban writings demonstrates how performance is 'at work' in the city. His selection highlights both diversity and the potential for interaction, drawing attention to the possible identities produced by the multi-faceted nature of the modern metropolis.

Weber’s improvised reply to Werner Sombart’s lecture on ‘Technology and Culture’, presented at the first meeting of the German Sociological Society in 1910, opens and closes with an appeal to uphold the principle of ‘value-freedom’ in academic discussions. Referring to the capitalist development of antiquity as an illustration, Weber argues for a factually precise conception of technology and against a Marxist definition in terms of economic causality or property relations. Turning to the influence of technology in the development of formal (...) aesthetic values, his primary emphasis is on how the modern metropolis gives rise to new forms of literature, painting, architecture and especially orchestral music. The editorial notes to this translation place Weber’s remarks in the context of his critical relationship to predecessors and contemporaries (including many of those present at the conference) and within the thematic development of his career-long studies on the rise of occidental rationalism. (shrink)

The article describes evolutionary process of the ideas about the state, which were formed by Ukrainian Orthodox intellectuals in the end of the XVI - the first half of the XVII century. Established, that on the development of these ideas had considerable influenced political circumstances of Ukrainian Cossack state in the second half of the XVII century. Varied Nation orientations available in Ukrainian political elite caused at that time the political split of Ukrainian society which reflected on the church life. (...) Some part of Church leaders tended to association with the Polish-Lithuanian Commonwealth and the convergence with the Greek Catholic Church, the rest were supporters of political union with Moscow and rapprochement with Moscow Orthodoxy. However, both groups of Ukrainian Orthodox intellectuals defended the independence of the Kyiv Metropolis. Accordingly, representatives of both political orientations in church circles had their own opinion on the nature of the state, the governor responsibilities, composition of nation and its political rights, the relationship between the secular and ecclesiastical authority in the ideal state. Two outstanding representatives of these viewpoints were Sofonovych F. and I. Gisel. There are many ways where their views are identical, so: both agreed about the priority of ecclesiastical authority over secular, Kyiv's role as a center of Orthodox state, about the existence of a sovereign Ukrainian nation as an ethnic and religious communities. However, they also had fundamental differences: in F. Sofonovych's "Chronicle" sense of the state's existence and first responsibility of the governor was to ensure the public good, the conception of political nation extends to the whole society, the governor is the monarch in the European sense, who should be accountable to his lieges. Instead of that in I. Gisela's "Synopsis" meaning of the state was described in citizens' association in a single church, the governor is autocrat that answers only to the face of God, as the political nation was described only a minor group of nobility and its features were limited. In that way, we can assume that the concept of state, represented in work by Sofonovych F. indicates the beginning of the transition from early modern to modern Ukrainian nation and the continuation of the idea of Ukrainian sovereignty. Theory by Gisela I., whereas, the initial point of departure of Enlightenment concept of absolutism, which later was developed by Prokopovich F., and embodies the idea of an Orthodox empire which in the political sense coincides with the Russian Empire and in the spiritual one - is a continuation of Kievan Rus, where Kiev clergy plays a significant role. Both concepts were actively developing in future and had some mutual influence; also they greatly influenced the political life. (shrink)

The main purpose of the article is to highlight the content and logic of formation the concepts of the state that emerged among the Ukrainian Orthodox intellectuals in the end of XVI - early XVII century. During this period was decisive for the formation of early modern Ukrainian nation as a new community and the beginning of its struggle for statehood. Major political role in the formation of Ukrainian nation at that time played Cossacks, but the Orthodox clergy not (...) only gave ideological support Cossack, but had his own concept of nation. As the main creators of the concept were Meletius Smotrytsky, Zachariy Kopystensky, Jov Boretskiy, Petro Mohyla. His complete registration it has acquired at the time of the restoration of Orthodox Metropolis of Kyiv and the metropolitan of Petro Mohyla (1620-1646). The principal features of this concept is defined as follows: State Orthodox intellectuals understood as a voluntary association of people of all classes around one idea. This idea was determined public good that church leaders perceived primarily as a transcendent grace. The symbol of grace was heavenly Jerusalem, which advocated earthly projection Kyiv. Orthodox church leaders deliberately refused confession from the ideal state for aggressive ideal spiritual state. This identified a fundamental difference from the then existing state ideologies of the Rzeczpospolita and Moskovia. Ruler of the concept of the ideal state is determined Orthodox hierarchs not a person but a state, personified in its most charismatic spokespersons. At first, the prince, then the gentry, then the Cossacks. The main objective is the defense of the state governor and care about the welfare of his subjects. At the same time Ukrainian clerics fundamentally alien to the idea of autocracy, they differ greatly from contemporary Moscow clergy. Another important feature of the state concept Ukrainian Orthodox Church of the Cossack era is persistent assertion priority of the spiritual over the secular government that does not coincide with the ideals of the Cossacks and was often a source of conflict. The main conclusions of the note is the fundamental notions of state formation in the Ukrainian Orthodox Church, the difference between these concepts from Moscow-Byzantine ideology and proximity to European humanistic model of the state than is largely due to the role of the Orthodox Church in the national liberation revolution led by Bohdan Khmelnytsky and conflicts Kyiv Metropolis with the Moscow Patriarchate in the future. (shrink)

The advent of the ‘mega’ or world city seems inseparable from the ambivalent and transient experience of modernity – the ideals of liberty, individuality, property, accelerating progress, and, for many, the realities of immobility, anonymity, poverty, and arresting regression. When more than half of the global population pursues an existence within an urban frame, the densities and boundaries of urban spaces swell to fantastical proportions. With the vast increase in size, so the experiences and expectations of the city become more (...) pronounced and profound. This introduction to this special issue of Thesis Eleven, ‘Big City Blues’, discusses the themes and stories of the articles below, which present different aspects of life in the metropolis. The over-stimulation of the desensitized urbanite, the wandering flâneur who fortifies him/her self against fragmenting pressures, the explosion of everyday peace into riots, the battles for political and social recognition of identity and property rights, and the financial meltdown of an entire municipal institution, are just some of the things that take place in the modern city, and are explored here. (shrink)

In Paris, metropolis of xix century, Benjamin traces the new paradigm of modernity: the modern theatrical dimension corresponds to the artistic innovations and to the reproduction of aesthetical requests. Entfremdung and Neutralisierung are the main characters of the Ästhetisierung and they are one with the distraction as principle of reception and the conformism as principle of valuation. This is the context of the aura’s decline. The Adorno’s critical essay on the radio (1963) analyses the transformation of works of (...) art in cultural gifts and, in particular, the loss of autonomy of the musical work of art in the radio listening. The Adorno’s remarks recognize the historical character of aura and a new possibility that it can re-emerge in a new historical dimension of the music. (shrink)

Iran, as a country that has never been colonized, underwent a rapid modernization process, which arose from its internal pressures. Starting from 1945, with the rise of globalism at the end of World War II, a new stage of modernization began in Iran which continued to grow and foster the culture of mass consumption. Globalization also led to the rise of different maternities in the housing sector. Focusing on Tehran, the dominant tendency to create a modern society based on (...) nationalism and modernism values, led to the creation of a very new image of the city, at odds with its introverted urban form till early of the twentieth century. The majority of urban policies were based on the need to create a major change in public life and to revolutionize the socio-political aspects of Iranian society. This chapter has been divided into three chronological periods. The first section Planning the Metropolis aims to focus on the idea of Tehran as a modern capital back in the 1950s and late 1960s with a special focus on class segregation and housing politics. The second part of this chapter Housing as a Revolution has a special focus on the transformation of housing strategies in Iran after the 1978-79 Islamic revolution. The third part Post-Revolution focuses on the current policies for the housing sector and construction economy. As a result of the imposition of US sanctions on the Iranian economy after unilaterally abandoning the Iran nuclear deal, the country’s economy has been hit hard by Tehran’s inability to export oil. Inflation has also hit the housing sector. In general, this chapter aims to bring forward the idea of housing as politics in modern Tehran through a critical and historical perspective. (shrink)

The Romans identified East Africa as Azania. The Chinese as Zezan. The metropolis of Rhapta was indicated to be the capital of Azania. In recent times a controversy emerged as to the location of Azania and Rhapta. A discussion has also occurred regarding the kind of people who settled in Azania. Whereas some scholars agree that the core of Azania was in East Africa modern, the geographical extent of Azania is in question. Archaeological, historical, and linguistic data have (...) been used to suggest Azania extended from the coast of East Africa to the Great Lakes region, central Africa and South Africa. It is also argued that the people of Azania were Bantu speakers who were farming and smelting iron. It is therefore justifiable for the people of the larger region of South Africa to East Africa to name themselves Azanians. (shrink)

The aim in this chapter is to explore the similarities and differences between the city symphony film genre of the 1920s and 1930s and the contemporary virtual city walking tours that are popular on YouTube these days, eventually discussing the change in representation of the individual in daily life over a century. The city symphony was born with modernism in the early 20th century initially to present an interpretation of the city with daily activities, human beings, their interaction with industrial (...) technology and the urban environment. A significant and pioneering film of the genre is by Walter Ruttmann titled Berlin: Symphony of a Metropolis (1927) which I will try to analyze its filmic elements in order to draft a summary of the style and vision of the director and his contemporaries. On the other hand, the virtual city walking tours on YouTube represent a very different representation of urban exploration. These videos show various cities through the act of simple walking recorded in a long one-take POV shot with a gimbal-camera. Despite minor differences in terms of commentary and music use, these videos are quite similar to each other when compared to city symphony films in general. The methodological approach for analyzing and interpreting these films and videos is guided by the neoformalist approach proposed by Bordwell and Thompson in the 1980s, along with Noël Carroll’s view on critical evaluation. Since this post-theoretical approach is non-formulaic in terms of its methodology, it fits the two examples I will provide that are stylistically very distant. After establishing the form and style of the works, I will try to follow Carroll’s suggestions in order to critically interpret, analyze and evaluate the works. The comparison between the city symphony film and virtual city walking tour reveals a complex interplay between continuity and change in regards to the individual. While both share a rather common goal of capturing the essence of urban life their differences are to be found in their stylistic choices and their interpretations of the goal itself. The city films of the 1920s and 30s were avant-garde expressions that combined artistic innovation with socio-political commentary. They were often experimental, using montage sequences, juxtaposition and abstract imagery to convey the ever changing industrialized modern city life. Ruttmann’s Berlin is emblematic of this approach, offering a poetic and critical reflection on urban existence. In contrast, the virtual city walking tours on YouTube are more accessible and immediate. They provide a first-person perspective that allows viewers to virtually traverse different cities, experiencing sights and sounds without the mediation of artistic abstraction. The similarity in these videos suggests a standardized format that prioritizes immersion over critique. This article offers a valuable contribution to the understanding of urban representation of the individual in film and digital media. By comparing the city symphony film with virtual city walking tours, I try to illuminate the evolving relationship between art, technology and urban life. I argue that not only is there a completely different representation of the individual within the frame, but there is also ethical considerations to be put forth regarding the one that makes the frame, or the camera. In the end I argue that the human-ness of a work of art or any type of video is more important than immersiveness. (shrink)

Religion has surprised the secular elites of North American and European societies. Not only has religion survived the treacherous passage from village to metropolis, from medieval superstition to modern science, and from state support (and coercion) to voluntary membership. Apparently, it has thrived and gained new sources of strength amidst these transformations. Far from being relegated to the proverbial ash‐heap of history, modern religions and the activist movements they generate find themselves positioned at the centre of (...) class='Hi'>modern debates – and modern wars – over territory, political sovereignty, human rights, global and local economy, scientific research and popular culture. Among these activist movements, the most virulent and sustained are ‘fundamentalisms’ – increasingly sophisticated reactions against secular modernity that seek to fight back against the enemies of traditional religion by constructing religiously inspired and quintessentially modern alternatives to ‘godless’, idolatrous governments, institutions and political and cultural elites. (shrink)

In the early modern period, the European concept of “nobility” was rarely used to describe the upper classes of the societies born in the British or in the French Americas. The presence of French nobles in New France or in the French West Indies and the emergence of the native gentry in parts of the British Empire have been much studied. But the social impact of elites has not been fully recognized by Atlantic historians—due, perhaps, to a bias towards (...) “authentically” New World systems of social recognition based upon wealth, emphasizing supposedly greater possibilities of social mobility. This paper takes a comparative perspective to the social meanings of being a noble or being a gentleman in both empires. It concludes that there were few substantive differences between French nobles living in the metropolis and in the colonies because legal definitions of the French noblesse were strictly determined by the Crown. The essence of the French nobility was, in theory, the same in Versailles, in a remote rural parish of France or in Quebec. The story was very different for British colonial gentlemen who encountered countless difficulties to be socially accepted by their metropolitan counterparts. The paper explores the consequences of the chasm between British metropolitan and colonial upper classes and assesses solutions taken by colonial gentlemen to be fully integrated in the gentry of Great Britain. (shrink)

With an increasing awareness of what they eat and the provenance of their food, people nowadays often raise such questions as where does the food come from? How is it produced? This concern over food ingredients and origins has resulted in a burgeoning interest in growing one's own food, both for the satisfaction in having done it oneself and for the assurance of food quality and safety. But how to grow one's own food in the midst of an urban (...) class='Hi'>metropolis? How to do it without a real garden?This book points the way, especially for beginners and those who may only have a balcony or a rooftop and are limited to growing in containers. It is not just about gardening in a narrow sense. It delves into the growing of plants as a multidisciplinary activity involving not only botany, but also zoology, geology, meteorology, philosophy, ornithology, and more. The book sends a strong environmental message for a reevaluation of modern lifestyle. (shrink)

At the end of the nineteenth century, the main source of information about the city of Łódź were not local periodicals (as there were no such publications), but correspondence printed in Warsaw papers. Apart from regular reports, m years 1898 and 1899, in one of leading Warsaw daily papers, Kurier Warszawski, there appeared a series of articles under the title “Znasz-li ten kraj?” signed by Antoni Sygietyński. It was the aftermath of the writer’s visit in Łódź (as it was noticed (...) in Goniec Łódzki, Sygietyński arrived in the city on 3rd of December 1889). The reports concerning the life of the textile city appeared in six issues of Kurier Warszawski, dated from 5th, 6th, 15th and 17th of December 1989 and from 6th and 8th of January in the next year. The author of Na skałach Calvados underlined that the title of the series is not unintentional, because Łódź, according to him, was a fully developed city, which had vast contacts with other regions of the world (Russia, Far East, South and North America) rather than with the rest of Polish cities. The writer compares Łódź to a mushroom, which develops rapidly in favourable conditions, whereas in unfavourable circumstances it becomes a latent form of life. Sygietyński underlines also that the city’s growth and organization reminds an American model. The writer attempts to change a stereotypical opinions about the city, mainly concerning its rapid development of industry, huge number of inhabitants or a triplenational character of the textile metropolis. The author aims at acknowledging a true Lodzermensch, he scrutinizes the cultural life of the city. During his visit in Łódź Sygietyński took part in the opening night of Hauptman’s Dwór zatopiony, and in Christmas party in a catholic shelter for children. The meeting with the youngest citizens gave an opportunity for a closer examination of the conditions they lived in as well as of the financial straits their caretaker, Father Szmidel, was facing. The experience triggered an idea of a charity concert, which Sygietyński decided to organize in Łódź The income was donated for modernization of the shelter. The concert was organized on 25th of March 1899 with the participation of the most famous Warsaw artists (Kruszelnik Borcewicz, Michałowski, Wierzbiłowicz, Trenkiel). Such was the social and cultural scale of the event that it was reported in a number of newspapers. Głos underlined Sygietyński’s input into organization by describing him as „a moral impresario of the show”. The author of Wysadzony z siodla while organizing the concert had two main aims: first - to collect money for the shelter, and the second - to arouse a passion for art among the citizens of Łódź. (shrink)

This paper explores the constellation of fear and the social forces, assumptions and images that construct it. The paper’s underlying presupposition is that there are many locations for fear that run parallel to one another in modernity, one of which will be discussed here – the city. It begins by exploring two images and ideas of the city, around which the social theoretical tradition has revolved, both of which are linked in some way to the ideal of the metropolis (...) and the counter-ideal of the stranger. The stranger invariably accompanies the image of the city, as someone who comes to it from the outside. This co-existence between integration and the experience of being outside generates the inner tension or unease of city life, especially when we are all strangers. (shrink)

Beginning with a discussion of Fritz Lang's ‘Metropolis’, this paper considers the rise of the city from a theological perspective. The ideal of the modern city was, it is argued, a secularised version of the City of God: the city was to be a place where all human desires might be met, a city without a church because the moral perfection of each human being has been fulfilled. The advent of the postmodern city of consumerist desire undermines this (...) secular dream, and opens a space for theologians to frame alternative visions of cities of erotic participatory desire. (shrink)

The Flats, a district near downtown Cleveland, was once was the vibrant heart of Midwestern industry and is now in the throes of change: Some of its warehouses and factories have been transformed into nightclubs and restaurants, while homes in adjacent neighborhoods have been replaced by mini-mansions. In Cleveland, photographer Andrew Borowiec documents the Flats today and evokes the way of life they once embodied. Given the rare opportunity to access one of Cleveland's vast steel mills before it was modernized (...) or destroyed, Borowiec employed his camera to explore the Flats and its monuments of American industry. His striking black and white images reveal the broken power and vulnerability of the once-mighty mill as well as its relation to the surrounding city and its neighborhoods. The commercial buildings, factories, warehouses, and iron bridges that sustained Cleveland's industrial pulse convey a quiet dignity in these compelling photographs, as do the modest frame houses that sheltered those who labored for decades in the Flats. As Clevelanders struggle to redefine themselves as citizens of a twenty-first-century corporate metropolis, the Flats stand as a haunting testament to a time when men worked with their hands and steel was indeed the backbone of our nation. Borowiec's compassionate but unflinchingly honest gaze challenges us to look both at and beyond the images of Cleveland and to meditate on our common history of loss and rebirth. (shrink)

This article aims at analyzing the relation between what „ghetto“ signifies beginning in the Christian Middle Age (the Jewish Quarter) up to the modern time (the Cen- tral-European Jewish Ghetto, the West-European labor district, the Afro-American neighborhood of North-Ameri- can cities ) and what the “closed area” (any kind of district situated in a contemporary metropolis) signifies. I have tried to analyze this relation in its evolution, ap- proaching both the continuity, the similarity of original types of ghettoes (...) to contemporary ones, and the dis- continuity, the differences existing between the two types of ghetto. The segregation and self-isolation poli- cies define and differentiate the ghetto in its essence. Starting from a contemporary point of view, I try to analyze the ghetto from a theoretical perspective, and from an architectural point of view. (shrink)

La modernización del agro chileno ha generado nuevos patrones de asentamiento y movilidad de la población tanto en ámbitos locales y regionales, como a nivel nacional. El tradicional modelo de desarrollo urbano-metropolitano, ha sido sustituido por un modelo de desarrollo agropolitano, el cual ya no se sustenta en el crecimiento y metropolización del país, sino en el crecimiento de un amplio abanico de ciudades agrarias. En este artículo se analiza la dinámica demográfica de estas ciudades agrarias. Proponemos el concepto de (...) agrópolis, el cual lo definimos como aquellos espacios en los que la actividad económica predominante está vinculada directamente al agro, ya sea como actividad primaria (agricultura), como actividad secundaria (agroindustria) o terciaria (comercio y servicios orientados a la agricultura y/o la agroindustria). Este concepto de agrópolis nos permite superar los vacíos de la dicotomía rural-urbana, proponiendo una oposición conceptual más amplia y compleja, entre lo que serían las agrópolis y las metrópolis. (shrink)

Common space and public open spaces are studied and investigated from various aspects in western contexts. What is the most considered in this study is the relationship between public open space and democratic functions in eastern context and especially in Middle Eastern countries. The notion of public is connected to the notion of people in the framework of the nation-state political organization. What was happened in Cairo in 2011, just as in Kiev in 2014, and Turkey 2013 was the prolonged (...) and mass occupation of public space by citizens. Indeed, physical space for the expression of democratic rights and claims is important in modern democracy. Tehran is studied as the example of a contemporary metropolis that embodies spatial-political tensions within its urban form. Tehran’s urban form remains deeply rooted in the historical ideologies of space in shaping a contemporary space of sovereignty. By reading the city through transformation of public spaces, the relationship between its architecture and political power will be exposed as an example in which the architecture of the city is charged with enabling an ideological interaction through action and reaction, revolution and resistance. This study focuses on Tehran during two major intervals 1921-1950(politics towards modernity)/1951-1979(Architecture for revolution) and the roots and results of these critical periods and their integration to political theology in contemporary middle-east metropolis. (shrink)

This essay aims to examine metropolitan cities of Latin America with two aspects of the literature in anthropology, history, and sociology in mind. First, the essay addresses an imbalanced focus on cities in the USA and Canada by sketching the significance of migration, creation, and urban development in four major metropolises of Latin America. Second, in place of a framework of urban imaginaries, which has dominated the sociology of Latin American cities in recent years, I argue for a more precise (...) notion of metropolitan imaginaries that better frames the creativity of particular cities and their level of integration into international and regional networks. With this more precise notion, I distinguish southern cities as highly connected places, which attract migrants and bring economic and cultural traffic to their shores, ports, plazas, and streets. They are lively centers of Atlantic modernity with connections that generate greater magnitude for creativity and, as such, bear international significance as places of architecture and urban design. In their informal settlements, impulses of organic creation further distinguish southern metropolises from their North American counterparts. The quality of international and regional connections distinguishes these cities from other urban centers in Latin America, a point underestimated in the literature on urban imaginaries. In this essay, I examine 19th and 20th-century Buenos Aires, Mexico City, São Paulo, and Rio de Janeiro. Each is distinguished from most cities by the magnitude of migration, the diversity of their populations, and the connections they have to global and regional developments. Crucially, each one stands out for the quality and impact of their metropolis-making, particularly in creative architecture and urban design. (shrink)

“La ‘modernidad’ a través de la imagen de la comida y la digestión”. Ésta es la tarea y el programa de la genealogía fisiológica y psicológica identificada con claridad por Nietzsche en un fragmento del otoño de 1888 y firmemente perseguida en toda su obra. El diagnóstico es implacable y es posible por un uso extendido de la metáfora gastronómica, aplicada a todos los campos de la experiencia y el lenguaje por una escritura temeraria de la historia. Como Valéry y (...) Péguy también lo ilustran, la experiencia de los hombres contemporáneos es pobre y enferma y se caracteriza por una duplicidad radical y una contradicción sin síntesis. No sólo las cosas, como además lo muestra en sus análisis sobre las mercancías como nuevos jeroglíficos que marcan el espacio saturado de la metrópolis, sino también el hombre es doble, así como su corporizada y profundamente fisiológica economía. Su estómago hambriento tiene dos caras, porque todo lo toma pero no nutre en absoluto; vocifera acerca de entusiasmos varios y heterogéneos, no sobre un verdadero alimento para ser absorbido y transformado. En resumen, vive por un instante sin pasado ni futuro. El opuesto de esta lógica de la enfermedad y la insensibilidad en busca de muchas sensaciones y shocks sensacionales, y el reverso de este olvido por rapidez excesiva, es un ser anti- o incluso premoderno en extremo. En los tiempos modernos, el entrenamiento de un criticismo genuino acerca de los prejuicios y el supuesto auto-conocimiento implican una regresión y una alteración de las propias identidades históricas, las creencias y los valores. Finalmente, como Benjamin y Warburg lo revelaron, el criticismo es como tornarse otra vez animal y la interpretación es como recuperar la lentitud y la melancolía de un eterno masticar, al igual que un perro o una vaca. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Modern, Stevie March 15, 2016: A 19 year-old American tourist is arrested in Jerusalem. Police authorities had found him asleep in a prohibited cave area, deep under the Muslim quarter of the Old City. A search finds his backpack loaded with rubble dug with a pickaxe, at a site where myth tells of lost religious treasure. The tourist claims no memory of his actions. Israeli media reports the story as a possible case of 'Jerusalem Syndrome' - a religiously themed (...) psychosis. The syndrome affects nearly 100 people each year out of millions of tourists who visit Jerusalem. (shrink)