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Ion Grigorescu: Electoral meeting, 1975, b&w photograph, 120 x 200 cm. Courtesy of the artist. [360] Ion Grigorescu: Electoral meeting, 1975, b&w photograph, 120 x 200 cm. Courtesy of the artist. [361]
Bucharest and its Utopia I feel it's imperative that Bucharest should be reconstructed; I have tried to sketch a new urban orientation that can be perceived as utopian. In fact, urbanism is an art that should scrutinize into the future. The city builders lacking foresight will be always left behind real life. Until they spot an urgent need coming up, hundreds of them are hovering and this sort of laggard race in the cavalcade of time is somehow ridiculous. Urbanism demands drastic, daring solutions able to anticipate future needs. Its material is huge, its means are revolutionary, while its plan needs be utopian. If our liberal age imperatively demands a policy to reorganize the social, economic life, architecture is just beginning to think about it; urbanism can be defined as directed architecture. Although it wasn't known as a science, urbanism was tightly connected with the art of building in all cultures, for all peoples. Starting with the Egyptians, the Chinese, the Romans, through the Middle Ages, the Renaissance, until the last century, the art of tailoring Cities was a geometrical application on the ground. You will find the rules of geometry wherever man's mind invented things and its hands chiseled them, that is, the straight line, pure surface, and simple volume. This is why Khorsabad, Peking, as well as the Renaissance towns and those of Louis xIV created order by means of geometry. Only the barbaric ages - the dark Middle Ages and the unhappy 19th c. architecture - avoided geometry. Such cities that sprawled at random represent a regression of human conscience and art. Being a compelling factor, geometric order checks the individual freedom and favours the community interest, its free development. The late 19th century liberal democracy wasn't [362] Marcel Iancu propitious at all for urban development. Most of the Western cities, created in the Middle Ages, throve at on amazing speed during the lost century, a thoroughly disoriented time in matters of architecture and urbanism. The traffic problem was added up to that of city extension. In Paris, for instance, there was on annual average growth rate of 6,000 vehicles between 1890 and 1910, and since 1919 the annual rate amounted 80- 100,000. Between 1800 and 1900 its population grew up with 1,500,000 inhabitants, while in the following 30 years it added almost one million souls. This is true for all the European capitals, not only for Paris; they all showed this spectacular growth. Why? The machine made human production grew ten times more; the factories attracted the proletariat, the cities intensified their race for new outlets, while traders sought for markets; due to the machine, man increased his time off ten times by creating speed and means of transport that shrank space. This speedy development found a decadent, unprepared architecture and a greenish urbanism. The problem of city development was made difficult by the traffic problem; in New York, when the skyscrapers pour out thousands and thousands of people into the black and narrow streets, the traffic is jammed. Then what's the use of one-way and cross-road traffic signs, once you have to stop every 150 steps. It is a well-known joke about the American who is said to walk on top of stuck cars, where ladies have enough time to knit a pair of socks at every street corner. There is no measure taken against the increasing traffic flow, no regulations to forbid higher buildings in the town centre, no land expropriation to widen the streets, there is nothing at all to show the extent of the modern city tumultuous life indeed. In the very moment of the deepest anxiety, when apparently there was no way out, when the city noise became unbearable, when a comfortable and hygienic living seemed impossible to reach, when the aesthetics was compromised and urbanism made prisoner, then the modern thinkers highlighted some unexpected and wonderful prospects for the cities of the future. Everything that has already been experienced by the Western big cities, has happened to a certain extent in our own country, and if not, it will occur very soon on a large scale. Almost against its own will-and less due to its awkwardness - Bucharest has changed its spirit; whoever happens to visit it after twenty years can hardly recognize it. Obviously, our city favoured a new life form and overlooked those old art vestiges like the Old Saint George Church and Colțea Tower that could have embellished it. We undergo a stage of full recovery. The buildings in the commercial centre grow higher and higher; the old and uncomfortable houses make room far central "blockhouses", while the very few courtyards and gardens vanish every minute. If we move on at the same pace set after the war, then we'll find ourselves burdened with all the shortcomings of the Western cities but without their monuments and art vestiges. So, we are likely to face the lack of light, green spaces, heavy traffic, endless traffic accidents, as well as the problem of endless lotting with infinite streets, cul-de-sacs, associated with the lack of economic means to refurbish the utility system over such a vast territory. The urban-planing undergoes a severe crisis. Architecture itself chose the new style. Who hasn't felt the perfect tuning of this geometrical, non-decorative, sober style with the mechanized life we are all sharing today? Who would ever consent to a different way of life, once he has tasted the utility of simplified forms comfortable life, not necessarily luxurious, as one might think, but imperatively showing our "urgent" way of living? To love the past doesn't mean to paralyze the present. If you are for a Romanian architecture it doesn't mean that you should fabricate it out of the blue, as it has been attempted several times. What we might label as a Romanian style will come out as the effect of a long process of adjusting the lively forms to specific local needs and choices. For the moment, we can see that the same technical, economic conditions, the same social structures, the same materials, the same transport means, the same sports and pleasures, the same books and clothes, the same news and shows make our capital a true European city. Today the cities are not only markets for the regional production but also places for peoples' exchange of spiritual values, which makes them share the same problems and shortcomings almost simultaneously. However, there is a difference with us. Luckily, Bucharest is a young town, at the beginning of its urban growth, and thus spared of the exaggerated architectural development that led to the unhealthy and overcrowded Western towns during the last century. Should we pick up again the same chain of mistakes that the Western countries already experienced and finally had to learn their lesson? Our love and caring for the city makes us try to avoid this useless experience. It is only our own shyness and hesitation in urban-planning that could keep us from making Bucharest a model city, a wonder city. We all witness its true shaping: the hour of the Directive has come. It's not too late. The Association of Bucharest's friends and us, the architects of today, assume a more serious responsibility since we haven't debated on its master plan even at the eleventh hour. What we can do in Bucharest today, it cannot be achieved in the future. Modern style demands modern urban planning. [363]
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PAVILION journal for politics and c
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COLUMN HANDLUNG. ON PRODUCING POSSI
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Handlung. On Producing Possibilitie
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ally occurred) can impossibly be re
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Handlung. Despre producţia posibil
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de ansamblu s-a intensificat iară
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“Better Dead than Communist!”.
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esis of a new political identity ca
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formed political party claiming con
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nizing hope.” In Octavian Paler
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goals were never fully attained”
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1999) References - “Alianţa Civi
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Universităţii, precum şi de repe
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mai proeminent purtător de cuvînt
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tece au creat o continuitate spirit
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lui Piaţa Universităţii, a fost
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Referinţe critice: - „Alianţa C
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meetings and the factory square mee
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din fabrică (obicei comunist de a
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materials; the simplification of th
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tion of life which destroys all of
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ile, iar evoluţia luptei proletari
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exces creativ. În al doilea rînd,
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gives the migrants long enough to m
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dwelling place for several families
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Notes: 1. NA. A previous version of
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periferie la alta, de la un adăpos
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spaţiile neocupate. În ciuda necu
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Exploring the Return of Repression
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Explorând întoarcerea represiunii
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Imaginary Radicalisms Notes on the
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to derive its historical intelligib
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hence art’s affirmative function
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ackward-looking conception of isms
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Radicalisme imaginare - însemnări
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modelul avangardist al istoriei art
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obiectul readymade. De fapt în ace
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erne asupra artei în sine, în cad
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Aesthetic realism, fictional docume
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far as Auerbach, in the first chapt
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the one presented by France Dimanch
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Realism estetic, documente ficţion
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ătălii (des étapes d’une lutte
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documentară), ci un instrument ce
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the self. Architecture thus not onl
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tage of a semicircular hall, by con
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the Assemblée fédérative des Ami
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etrageri şi tenacitate. Nu include
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şi a distanţărilor. Mai mult, or
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organizate în circul de la Palais-
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so many issues - bound all of us in
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Our notions of politics have been t
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lows always drifted sideways. For t
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as humans are through opinion polls
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This is exactly what happened when
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degree of realism that is injected
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De la Realpolitik la Dingpolitik sa
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va imagini înceţoşate ce “dove
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cu pasiune, adică ştiinţa, tehno
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întîi asupra politicienilor înş
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ar putea fi o problemă mult mai de
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sale experienţa trăită odată cu
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spectacol. Note: 1. Ron Suskind,
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we are better able to understand wh
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Democraţia agonistică şi politic
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Page 155 and 156: parte încă dispersate şi teribil
Page 157 and 158: [310] the reality you are only reme
Page 159 and 160: Notes for a Declaration of the Righ
Page 161 and 162: EXTENT PARTICIPANTS AND VENUES OF B
Page 163 and 164: Magnus Bärtås Madame & Little Boy
Page 165 and 166: Kaucyila Brooke Tit for Twat: putem
Page 167 and 168: Cabello/Carceller ARCHIVE: DRAG MOD
Page 169 and 170: Elena Ciobanu Oda Bucuriei Ode to j
Page 171 and 172: Cláudia Cristóvão Standing Still
Page 173 and 174: Ângela Ferreira Abandoned Settler'
Page 175 and 176: Field Work/Lise Skou & Nis Rømer W
Page 177 and 178: Andrea Geyer Criminal Case 40/61: R
Page 179 and 180: Charlotte Ginsborg The Mirroring Cu
Page 181: Ion Grigorescu Electoral meeting Ma
Page 185 and 186: Is there anyone around who says nay
Page 187 and 188: omului în colectivitate. Multe au
Page 189 and 190: Stina Östberg Floating Island Floa
Page 191 and 192: Emily Roysdon A Motion Picture My w
Page 193 and 194: Fia-Stina Sandlund Julie The artist
Page 195 and 196: Lina Selander When the sun sets it
Page 197 and 198: Åsa Sonjasdotter Small Potatoes Ma
Page 199 and 200: Pilvi Takala Players In the past te
Page 201: Lan Tuazon Riot City/ Parking Lot L
Page 204 and 205: Kalle Brolin Gorgeousaurus, foundin
Page 206 and 207: Pablo Bronstein & Eleanor Vonne Bro
Page 208 and 209: Ștefan Constantinescu An Infinite
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Page 212 and 213: Alexander Kluge News from ideologic
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Page 218 and 219: CENTRE FOR VISUAL INTROSPECTION CEN
Page 221 and 222: Maryam Jafri Independence Day 1936-
Page 223 and 224: Mona Vătămanu & Florin Tudor Poem
Page 225 and 226: PAVILION UNICREDIT center of contem
Page 227 and 228: Zachary Formwalt: In Place of Capit
Page 229 and 230: Sabrina Gschwandtner Wartime Knitti
Page 231 and 232: Christine Meisner Recovery of an Im
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Asier Mendizabal Otxarkoaga (M-L)/U
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Olivia Plender & Unnar Örn Table R
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Société Réaliste Spectral Aerosi
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Judi Werthein Brinco Brinco, 2005,
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laBOMBA Rahova-Uranus Community Cen
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Curator Felix Vogel Felix Vogel (b.
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Derrida, Michel Foucault and Gilles
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Londra și Viena. Expozițiile ei p
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London, the Jeu de Paume, Paris and
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Sweden în 2006 și a absolvit Acad
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Mellon School of Art. Printre expoz
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sions and debates connected to the
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Simultaneus parallel events Narrati
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ory, oral archive - testimony, writ
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2009-2010 Parallel Events Free Acad
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“Chestiunea realismului” are ca
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Media Partners: Official Coffee: Pr
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Felix Vogel - Handlung. On Producin
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