理解后现代主义:北方街区的脚凳

O. Anisimov
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引用次数: 0

摘要

如今,对苏联遗产的重新评价是一个有争议的话题。目前,关于保存20世纪70年代和80年代苏联高级现代主义项目的尝试,甚至将它们指定为遗产的争论正在发生。然而,在这篇文章中,作者试图揭示另一个维度:苏联生命周期内的后现代建筑。文章中讨论的案例是位于乌克兰基辅Podil区工业区边缘的住宅小区“4个街区”。根据1968年的现代主义规划建议,Podil地区免于重建。之后,该地区成为实验项目的试验场,其中一部分是“4块”住房。由于具体的建筑方法以及该项目对后续建筑生产的影响,人们可以将该项目视为晚期现代主义和后现代主义不同时期之间的分水岭。在文章中,讨论了允许建筑师团队以前所未有的自由工作的独特条件。建筑师如何在他们的项目中反思和利用国际影响?他们是如何处理当地的景观、材料、建筑环境和考古特点的?文章还探讨了苏联后期历史城区研究方法的变化。为了突出本地和国际背景之间的相似之处,并反思由此产生的项目,作者使用了当时的后结构主义哲学。哲学在对现代主义建筑的批判中所提出的概念与作者在《4个街区》中所使用的概念的相似性是惊人的。人们可以得出结论,乌克兰苏维埃建筑在20世纪80年代中期演变成各种不同的风格,这个项目可以被认为是这种风格之一的生动例子,即所谓的后现代主义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
UNDERSTANDING POSTMODERNISM: NORTHERN BLOCKS OF PODIL
Reevaluation of Soviet heritage is a contested topic nowadays. At this moment debates are happening about the attempts to conserve the projects of High Modernism in the USSR of the 1970s and 1980s or even to designate them as heritage. In this article, however, the author attempts to reveal another dimension: postmodern architecture within the life span of the Soviet Union. The case discussed in the article is a housing estate “4blocks” located on the edge of the industrial zone in the Podil district in Kyiv, Ukraine. Podil area was spared from being rebuilt according to the modernist planning proposal in 1968. Afterwards, the district became a testing ground for experimental projects, part and parcel of which is the “4blocks” housing. One can perceive this project being a watershed between different periods of late modernism and postmodernism because of the specific architectural approach and the influence this project exerted on the following architectural production. In the article, the unique conditions which allowed the team of architects to work with unprecedented freedom are discussed. In what way did architects reflect on and use international influences in their projects? How did they work with the local peculiarities of landscape, materials, built environment and archaeology? The article also touches upon the topic of the change in approaches toward the historic urban areas in the late USSR. To highlight the parallels between local and international contexts and reflect on the resulting project the author uses the then-contemporary poststructuralist philosophy. Similarities of the concepts put forward by the philosophy in its critique of architectural Modernism and those used by the authors in “4blocks” is striking. One can conclude that Ukrainian Soviet architecture evolved into a variety of different styles in the mid-1980-s, and this project can be considered a vivid example of one of such styles, so-called postmodernism.            
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