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“The City of Tomorrow” Shows the Future Left Behind

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Fragment of a project documentation. Sokur rural settlement. Novosibirsk Region Architect Vyacheslav Misin (Aurora Bureau), 1987.

“The City of Tomorrow”, the exhibition project of the international group of curators and researchers, is currently on view in Novosibirsk within the framework of the Year of Germany in Russia 2020/21. The show considers the life and afterlife of the Soviet city, focusing on the social and ideological fabric that once wove the Soviet Union together. The vast body of documentation presents the evolution of Soviet modernist architectural heritage from the early 1920s to its end that coincidedwith the collapse of the Soviet Union. Numerous thematic sections include both architectural projects implemented in the Soviet Union as well as utopian projects left in paper.

The current moving exhibition is a visible manifestation of cultural diplomacy and research thinking. The curators of the project Ruben Arevshatyan  (Armenia) and Georg Schölhammer (Austria) have been researching and documenting the architecture from across the CIS countries and beyond for almost two decades. Previously much of this legacy has been left out of architectural history books. In an attempt to bridge that gap a big team of researchers and consultants later joined the project. As a result, the current show presents over 600 acclaimed masterpieces and not widely known architectural monuments from Russia and the former Soviet republics displayed in the form of photographs, models, plans, and film fragments from more than 70 archives.

Grandeur palaces of culture and gigantic stadiums, brutalist industrial structures and residential districts, sanatoriums and swimming pools, boulevards and monuments, cinema houses and even bus stops – all these components of architectural landscape expressed the spirit of the Soviet project embodied in stone, giving the urban space a certain flavour so characteristic of those times.

The exhibition was launched back in 2019 in Minsk, and since then the Goethe Institute project has been in Yerevan, Moscow. In 2021 it will travel to Kiev and Tbilisi.

The show organized by Goethe-Institute Novosibirsk in the Center of Culture (CK19) includes a new section, especially developed for the Novosibirsk edition of “The City of Tomorrow”. It encompasses the architectural processes in Siberia throughout the 20th century. “We talk here about architecture and urban development with a reference to the Bauhaus school in Germany. The exposition consists of two main sections – the core that is exhibited in different cities and the local extension with a focus on paper architecture – projects that were not realized in construction”, says Mr. Per Brandt, Director of the Goethe-Institute Novosibirsk. Our observer Elena Rubinova spoke with Anton Karmanov, Novosibirsk edition curator, about the role of Soviet modernism for architectural history and practice, the second wave of paper architecture, and young viewers’ impressions of the exhibition.

As far as I know, the curators of the entire project have been researching for the project across the former USSR for almost two decades. Why has the project finally emerged in recent years as a traveling exhibition? ​​​​​​

The research project began around 2004. At that time, the first discussions about the phenomenon of “Soviet architecture” were initiated. Large-scale architecture seemed solid, but in fact, complex ambiguous processes were behind its declarative nature. And finally, it was possible to talk about it and do major research. In the 2000s, Soviet modernism started to be seen not as a homogeneous, but multifaceted phenomenon, described by the notion of “local modernities”. With this new approach, it became possible to see the whole picture of Soviet modernism, on a different level and in a different quality. In parallel, interest in modernism was spurred by a number of popular publications. In 2011, Frederic Chaubin’s book “USSR” (“Cosmic Communist Construction Photographed”) was published. The book was a dizzying success and became a bestseller in the West: The architecture described in it did not exist in the Western countries, the audience did not know it existed and did not expect to have such a revelation. Interestingly enough, this architecture was not expected to be discovered in Russia as well. The book became a revelation both for the professional audience and for the general reader. So the growing interest in the Soviet heritage and the discovery of new layers of the architecture of that time were the catalysts of the exhibition process.

What is the significance of Soviet modernism today?

Speaking about Siberia, the importance of Soviet modernism is fundamental: urbanization of its vast lands falls largely into the 20th century, the height of modernism. Much of the infrastructure, transport, energy, education, culture, and cities in general are the result of processes where modernism as a philosophy and modernism as a style prevailed. Cities in Siberia were often formed from scratch, from square one, so to say. The structure of the future cities immediately implied that they would be populated by a new type of people, society would not be “traditional” – with kitchen slavery and class distinctions. In these cities of tomorrow schools, kindergartens, and colleges were built from the start.

What is behind the blanket term “Siberian” modernism, the concept which has been in focus in the current edition?  What cities other than Novosibirsk and territories does this term describe?

First and foremost, “Siberian modernism” stands for a modernist architectural school formed in Siberia, its institutions and architectural heritage, which territorially refers to this region and implies the idea of this place. Of course, the school did not include only local architects who designed Siberian, Far Eastern, Northern cities or cities of Central Asia. Here in Siberia there were many leading specialists who received their architectural education and began to work here such as the renowned Soviet architect Mikhail Posokhin (the Palace of Congresses, New Arbat street in Moscow, and a number of international pavilions of the USSR are among his projects), or the engineer Nikolai Nikitin, who went through the progressive “concrete” school at the Siberian Institute of Technology. He used his knowledge in the design of the Ostankino TV tower, the sculpture “Motherland calls!” and a number of other iconic projects. To outline briefly, the Siberian modernism is a modernism of the bases which is supposed to convey “more ethics – less aesthetics”. Siberian modernism has an essentially strict, universal character.  And, of course, this concept refers not only to Novosibirsk, but this city was one of its centers.

Does the exhibition trace ideologically-induced changes? How is this aspect reflected in the exhibition?

Architecture is always a manifestation of its epoch, a story of economic and political power telling a viewer how social relations were perceived.  It always provides rich material for studies. It is these particular issues that thematic sections of the main part of the exhibition address. For instance, the exhibition includes such sections as “Ideology in Stone,” or “Parallel Ideologies.” In the latter section one can find what was behind the declarative nature of Soviet modernism, what ideas were conceived within the architectural process but were camouflaged under Soviet norms. On the display viewers can see examples how post-modernist or nationalist motifs made their way in Soviet architecture. Or the section “Free Time and Leisure,” tells us about the concept of “free time” in Soviet society. It was only in the early 1960s that a 5-day working week was introduced, and the employees were meant to enjoy an extra day off in libraries, cinemas, and houses of culture.

For a wide non-professional audience, the concept of “paper architecture” is not always familiar. What does this special phenomenon stand for? How is this theme presented in the exposition?

“Paper architecture” is a phenomenon of the 1980s, which emerged as a reaction to overregulation. “Paper architecture” was an alternative, a step away from the mainstream of Soviet architecture with its functionalism and standardized construction, it was an idea of a generation, a special character of the sensibility of that time. In the Novosibirsk edition of the show “paper architecture” fits into the architectural and urban history – it demonstrates the transition from Soviet urbanism to urbanism, which then in the postmodernist mindset and theories was popular among architecture students in Novosibirsk. We focus on the main architectural groups – some were employees of design institutes, others opened the first private architectural studios in 1985. In the show, this inclusion of “paper” as part of architectural history builds a bridge to the 1920s, to late-Soviet architecture, to the architecture of the 1990s, and to what is happening now. But it should be noted that “paper architecture” as a mass phenomenon did not appear everywhere. There were two centers – in Moscow and Novosibirsk, they had different backgrounds, but they were in a dialogue. The architectural schools of Leningrad and Yekaterinburg did not engage in paper architecture en masse and remained mostly conservative and pragmatic. It should be noted that many of the Novosibirsk “paper” projects are quite realizable and quite modern to this day.

What is the Soviet style in architecture – details, certain elements, dimensions? How will the audience, especially viewers who did not live in the USSR – imagine a “Soviet city” after they visited this exhibition? I assume, this must have been one of your goals as a curator ….

As a curator, I set myself the task of breaking down the one-sided understanding of the “Soviet style”. It was important to me to show the multiple concepts that were born in the Soviet period and were in dialogue, in development. In order to show this, there was enough material. I cannot say that people who did not live in the Soviet Union have absolutely no idea what a Soviet city is. In Novosibirsk, there is almost no historical development of the city, and all significant public buildings are Soviet buildings, with very few exceptions. Even younger generations who have not lived in the Soviet Union, were born in Khrushchev time residential blocks and grew up in bedroom communities. Rather, the exhibition gives enough material to make it clear what projects were originally like, before multiple reconstructions, without advertising, banners, and the infamous siding. General knowledge of architecture ends in the 30s at best. The history of Soviet architecture is not taught in institutes of higher education; this experience is not understood, not studied, not engaged. The oblivion of modernism, its invisibility despite its ubiquity, is characteristic not only of the philistine, but also of the architecture student. And the exhibition certainly fills this gap.

What is happening to the legacy of Soviet modernism today? Will gentrification be most common in terms of conservation? What is the situation like in Novosibirsk?

“Gentrification” often hides a meaningless development that does not increase the quality of the territory, but reduces it. If most people thought about development rather than profit, then the doctrine of modernism aimed at development would have come true. Even if the urban modernist framework changes, the spirit of modernism is unchanged – the desire for development. One other problem is also most common – what are the criteria of a piece of architecture or monument to be under protection? At the city and regional level, let’s say, a run-down crooked hut of Peter the Great times is more likely to be considered a monument than a well- preserved masterpiece of modernist architecture. I think that the situation in Novosibirsk is no different from many other cities. It is clear that nowadays there is no need to have a large number of huge cinemas and libraries with auditoriums for thousands of people – the distribution of video, films and texts takes place by other means. However, the need for public buildings, public relations, and cultural practices remains; it does not disappear, but takes new forms. And we have to work with this.

From our partner International Affairs

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Arts & Culture

Rising Pak-Turk Cultural Diplomacy: “Dirilis Ertugrul”- The Prime Catalyst

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Amid massive success of famous Turkish drama series Dirilis Ertugrul, also titled as Resurrection Ertugrul in English for Netflix, is both a fictional and historic story based on the life of father of Osman I; Ertugrul Ghazi- set in 13th Century made records across Pakistan in terms of its views and popularity. It gained massive fan-following among all age groups inspiring them to value integrity, steadfastness and have faith. The current Prime Minister of Pakistan Mr. Imran Khan urged people to watch this series to increase their knowledge about the glorious history of Muslims and true essence of Islam and learn from it. The high-budget drama got dubbed in Pakistan’s national language; Urdu, therefore reaching mass audience.

The viewership of the series shoot up primarily during the month of  Ramadan. As a result not only did the people of Pakistan get enlightened and entertained but also the state television earned huge profits. Most importantly it boosted cultural, media and public diplomacy between two Muslim countries; Turkey and Pakistan. The drama serial promoted people-to-people contact, join forces for mutual media and cultural ventures and promote Pak-Turk Tourism, and last but not the least – strengthen relationship between the Muslim countries purely based on love and mutual respect. Therefore, establishing a strong mutual alliance is raison d’être for these potential efforts by the both ends. Pakistan having a strong support-system in Europe and for Turkey to have in South Asia is a prerequisite for both to counter the future challenges – as it has become the need of times keeping the geopolitical dynamics in perspective. Speaking of challenges – Saudi Arab; with whom Pakistan’s relations are already struggling – expressed their reservations regarding the broadcasting of Turkishdizi (dramas) in Pakistan. Irked by the success of Dirilis Ertugrul – Saudi Arab has come up with their own counter narrative version of historical series titled, “Kingdom of Fires”, with an aim to combat Turkish cultural invasion and growing global influence. Fatima Bhutto, in her article for Foreign Policy, ‘How Turkey’s Soft Power Conquered Pakistan’, says that in contemporary times – Turkish dramas has come second only to American ones, otherwise it has toppled the previously most viewed languages in the world, such as, French, Spanish, and Mandarin. Turkish has now become the most watched language worldwide.

Acknowledging the blockbuster success, the lead actors visited Pakistan receiving a warm welcome, immense praise and love from people. The actors too expressed  their gratitude and happiness. Several lead actors of the super-hit series namely Engin Altan Duzyatan aka Ertugrul, Cavit Çetin Güner aka Dugan Bey, Nurettin aka Bamsı and Ayberk Pekcan aka Artuk Bey etc.on their short visits met selected Pakistan’s media personnel henceforth expressed their willingness to strengthen the cultural bond by collaborating with each other in future media-based projects and bring together the people of the two nation. Rumor has it – both the Muslim countries are already in talks to come forth with a Pak-Turk TV series; a Pakistan-original with joint efforts for the project by Ansari Films and TRT Films named, “Lala Turki”, commemorating the Khilafat Movement – with an ultimate aim to aware the unaware about the legacy of Islam.

It must be mentioned here that it is not the first time that any Turkish drama series had been aired in Pakistan. The trend was set few years back by URDU 1 channel which ran mostly Turkish dubbed dramas in Urdu so that people of Pakistan would also get a taste of Turkish flavor of serials. It gained massive popularity. Thereon, the trend to air Turkish productions became a new normal. Another series that gained massive popularity was “the Magnificent Century” locally known as “Mera Sultan”. This was run by the channel Geo Kahani. The trend of Turkish dramas never seized till date. However, what “Dirilis Ertugrul”managed to do in this past year can’t be matched. This is the only drama that started involving the two nations on diplomatic level and opened up new ways for collaboration among the brother countries. It helped people realize that not only the flags but the hearts of the two nations are also very similar united by a shared magnificent past and a hope for an incredible future.

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New European Bauhaus: Commission launches design phase

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Commission launched the design phase of the New European Bauhaus initiative, announced by President von der Leyen in her 2020 State of the Union address. The New European Bauhaus is an environmental, economic and cultural project, aiming to combine design, sustainability, accessibility, affordability and investment in order to help deliver the European Green Deal. The core values of the New European Bauhaus are thus sustainability, aesthetics and inclusiveness. The goal of the design phase is to use a co-creation process to shape the concept by exploring ideas, identifying the most urgent needs and challenges, and to connect interested parties. As one element of the design phase, this spring, the Commission will launch, the first edition of the New European Bauhaus prize.

This design phase will lead to the opening of calls for proposals in autumn this year to bring to life New European Bauhaus ideas in at least five places in EU Member States, through the use of EU funds at national and regional level.

European Commission President, Ursula von der Leyen, said: “The New European Bauhaus is a project of hope to explore how we live better together after the pandemic. It is about matching sustainability with style, to bring the European Green Deal closer to people’s minds and homes. We need all creative minds: designers, artists, scientists, architects and citizens, to make the New European Bauhaus a success.”

Mariya Gabriel, Commissioner for Innovation, Research, Culture, Education and Youth said: “With the New European Bauhaus our ambition is to develop an innovative framework to support, facilitate and accelerate the green transformation by combining sustainability and aesthetics. By being a bridge between the world of art and culture on one side and the world of science and technology on the other, we will make sure to involve society as a whole: our artists, our students, our architects, our engineers, our academia, our innovators. It will kick-off a systemic change.”

Commissioner for Cohesion and Reforms, Elisa Ferreira commented: “The New European Bauhaus is about how we live together, our values, our common spaces of work and leisure, our collective and private experiences. This is a project for all regions and territories in Europe. In promoting affordable solutions, it should contribute to social cohesion and to solving housing problems. If we want to bring real change around us – for a more beautiful, sustainable life together, we need to think about how the New European Bauhaus can bridge the generation of new ideas with implementation in physical places. We are therefore exploring across the Commission how our tools could be mobilised to launch a first set of concrete New European Bauhaus actions.”

Background

The New European Bauhaus is a creative initiative, breaking down boundaries between science and technology, art, culture and social inclusion, to allow design to find solutions for everyday problems. 

On the dedicated website launched today, artists, designers, engineers, scientists, entrepreneurs, architects, students, and all interested people can share examples of inspiring achievements for the New European Bauhaus, their ideas about how it should be shaped and how it should evolve, as well as their concerns and challenges.

This is the beginning of an innovative co-design process. Organisations that want to put more effort into their engagement in this process can become ‘Partners of the New European Bauhaus,’ by responding to the call on the website.

In the coming months, the Commission will award prizes to existing examples that represent the integration of the key values of the initiative, and that may inspire the discussions about, and the transformation of, the places where we live.

In the next phase of the initiative – the ‘delivery’ phase, five pilot projects will be set up to co-design new sustainable and inclusive solutions with style. The objective of the third phase – ‘dissemination’, is to spread the ideas and concepts defining the New European Bauhaus via new projects, networking and sharing of knowledge, in Europe and beyond.

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World Economic Forum Announces 2021 Crystal Award Winners

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(foto: IMOVISION/DIVULGAÇÃO)

The Opening Night of The Davos Agenda on Sunday 24 January at 19.00 CET (rebroadcast at 19.00 EST and on Monday 25 January at 20.30 CST), will feature several world-class artists and creative change-makers coming together in a show of togetherness.

The 27th Crystal Awards
Co-hosted by Hilde Schwab, Chair of the World Arts Forum, and photographer Platon, the 27th Crystal Award ceremony honours Ghanaian-British architect Sir David Adjaye for his leadership in serving communities, cities and the environment, and French-Brazilian photographer Sebastião Salgado for his leadership in addressing inequality and sustainability.

“Both Sir David and Sebastião are important storytellers of our time who offer insights into the possibility for change. They connect us to each other, they give us a language to imagine, and they provide visions of the world that can cut through the limitations of short-term or linear thinking,” said Hilde Schwab.Sir David Adjaye
Sir David and his architecture firm operate globally, with a diverse portfolio spanning private houses, offices, monuments and museums. His largest project to date is the National Museum of African American History and Culture in Washington DC. He uses architecture as a social act to serve communities and achieve an ambitious environmental agenda.

“For me architecture represents opportunities for storytelling, justice and transformation and my ambition has always been toward projects with these qualities. I am deeply humbled to be recognized with this year’s Crystal Award and inspired to continue to pursue my work with social impact as the guiding force,” said Sir David.

Sebastião Salgado

Salgado’s iconic black and white photographs span decades and more than 100 countries.His work documents life on Earth, revealing both awe-inspiring and horrifying scenes, provoking debate about the human condition and issues of inequality and sustainability. The photographs impart the dignity and integrity of his subjects, without forcing their heroism or implicitly soliciting pity.

“In the late 1960s, I was employed as an economist at the International Coffee Organization and I began traveling around Africa. One day, I borrowed my wife Lélia’s camera and I began to see the world in a different way. Soon I wanted to share what I saw through the lens of the camera. I am deeply honoured to receive the Crystal Award for my work,” said Salgado.

World Premiere of “See Me: A Global Concert”
Immediately following the 27th Crystal Awards, the World Economic Forum will hold the world premiere of its 23-minute cinematic musical production, “See Me: A Global Concert”, an international collaborative effort. Filmed on location from September through December 2020 despite the challenges of COVID-19, it is led by music director Marin Alsop and includes the participation of Yo-Yo Ma (USA), the Chamber Orchestra of the Afghanistan National Institute of Music (Afghanistan), the Vienna Radio Symphony Orchestra (Austria), the Black Pearl Chamber Orchestra (USA), the Choir of the State Orchestra of São Paulo (Brazil), the Orchestra della Toscana (Italy), the Drakensberg Boys Choir (South Africa), the China NCPA Orchestra (China), and sand artist Jim Denevan (USA). The film includes an original composition, See Me, by Reena Esmail. In addition to Marin Alsop, the creative team behind the project includes Film Director Bernadette Wegenstein, Creative Director Es Devlin and Director of Photography John Benam. The project has been made possible thanks to generous support from Intesa Sanpaolo.

“This project is intended as a shared expression of trust and connection in these tough times. We are so grateful to the hundreds of artists, musicians and film teams who took a leap of faith and collaborated across borders to make this beautiful film together,” said Nico Daswani, Head of Arts and Culture at the Forum and Executive Producer of the film.

Preceding the 27th Crystal Awards and the world premiere of “See Me: A Global Concert”, the Opening Ceremony will begin with a welcome message from Klaus Schwab, Executive Chairman of the World Economic Forum, followed by a special address from Guy Parmelin, President of the Swiss Confederation.

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