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All prohibitions, put on a human in society in common time, are taken off during the hostilities. Thus war can be seen as a method and a way of
removal of psychological stress in the whole society.
The fear of alien will obtrusion, ffear in the face of danger is an exceptional incentive towards technical progress. It is no coincidence many new
products are invented and first appear for military purposes, and only then
are used in civilian life.
Improvement of international relations at the highest level and appeal to the world community values such as human life, peace and others in
the post-war period.
Table of contents
War and architecture
. L. Woods
#1, 2013
Languages: Russian, English.
Contacts: editorial@archmag.ru
Ads: ads@archmag.ru
archmag.ru
WAR
. K. Asse
Art and war
About War
Fortresses and castles
20
20 century
Nowadays
6
.
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Architecture
is war.
War
is architecture.
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Architecture and war are not incompatible. Architecture is war. War is architecture. I am at war
with my time, with history, with all authority
that resides in fixed and frightened forms. I am
one of millions who do not fit in, who have no
home, no family, no doctrine, no firm place to
call my own, no known beginning or end, no
sacred and primordial site. I declare war on all
icons and finalities, on all histories that would
chain me with my own falseness, my own pitiful
fears. I know only moments, and lifetimes that
are as moments, and forms that appear with
infinite strength, then melt into air. I am an
architect, a constructor of worlds, a sensualist
who worships the flesh, the melody, a silhouette against the darkening sky. I cannot know
your name. Nor you can know mine. Tomorrow,
we begin together the construction of a city.
Lebbeus Woods
WAR AND
ARCHITECTURE:
The Sarajevo window
http://lebbeuswoods.wordpress.com/
whelming odds.
12
13
WAR AND
ARCHITECTURE:
Three Principles
http://lebbeuswoods.wordpress.com/
lost to its pre-war condition. The idea is to restore normalcy, where the normal is the way
of living lost as a result of the war. The idea
considers the war as only an interruption of
an ongoing flow of the normal.
The Second Principle: Demolish the damaged and destroyed buildings and build
something entirely new. This new could be
something radically different from what existed before, or only an updated version of
the lost pre-war normal. Its application is
very expensive financially, at the least.
Both of these concepts reflect the desires
of most city inhabitants to get back to normal, and forget the trauma they suffered as
a result of the violence and destruction. Yet,
both concepts ignore the effects of the war
and destruction on the people who suffered
through them, not only the personal psychological effects, but also those forcing changes to peoples social, political, and economic
relationships. Before the war, Sarajevo was
15
high. However, the application of this principle to ordinary buildings makes no sense,
because there is nothing especially memorable to restore. To the contrary, the apartment
and office blocks that survive destruction
must provide the day-to-day spaces for the
new ways of living to be enabled by their
radical reconstruction.
The projects for Sarajevo that demonstrate
exactly what is meant by this term, accompanied by extended captions, are presented
below. I think it is possible, and just, to project the Third Principle into the reconstruction of todays war-damaged cities.
A typical residential block, badly damaged in places, reconstructed with new types of spaces
for residents use. The principle here is that reconstruction integrates peoples experiences of the
destruction into needed social changes, as well as architectural ones.
The burning Electrical Management Building, and (right) the badly damaged, but salvageable
Parliament of Bosnia and Herzegovina:
The purpose of the New Parliament is not simply to replace the old, Socialist parliament, but
in the first placeto study and debate what a post-war Bosnian parliament should be and do.
New types of spaces woven into the surviving Cartesian structural frame, create a dialectic between timeless and timebound, a network of the unknown that inspires both dialogue and innovation:
The UNIS twin office towers, attacked in 1992, and burned. The buildings structural and floor
systems survived and were suitable for radical reconstruction. The new types of office space will
be used in ways that will be unique to the post war conditions.
18
19
Like the Sarajevo window, the scavenged construction materials are carefully reshaped and
reconfigured, then fitted together with a high level of crafta technique appropriate to the
New Parliaments methods and goals.
20
The book Radical Reconstruction, for all its textual deficiencies, does present demonstrations of
the Third Principle, stated above, in Sarajevo; Havana, Cuba; and San Francisco, USA.
21
http://archi.ru/press/russia/19546/arhitektura-i-voina-chemprosche-postroen-gorod-tem-legche-ego-vzyat
OpenSpace.ru, 01.10.2009
http://www.openspace.ru/art/projects/86/details/12561/
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http://archi.ru/press/russia/19546/arhitektura-i-voina-chemprosche-postroen-gorod-tem-legche-ego-vzyat
OpenSpace.ru, 01.10.2009
http://www.openspace.ru/art/projects/86/details/12561/
Translation by I. Matveev
24
Kirill Asse
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From left to right: Explosion (210250 ); O Lord, save Thy people (210250 ), in the
collection of the Moscow Museum of Modern Art.
27
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In The Dream and Lie of Franco, a series of narrative sketches also created
for the Worlds Fair, Franco is depicted as a monster that first devours his
own horse and later does battle with an angry bull. Work on these illustrations began before the bombing of Guernica, and four additional panels
were added, three of which relate directly to the Guernica mural.
Picasso said as he worked on the mural: The Spanish struggle is the fight
of reaction against the people, against freedom. My whole life as an artist
has been nothing more than a continuous struggle against reaction and
the death of art. How could anybody think for a moment that I could be in
agreement with reaction and death? ... In the panel on which I am working,
which I shall call Guernica, and in all my recent works of art, I clearly express
my abhorrence of the military caste which has sunk Spain in an ocean of
pain and death.
However, according to scholar Beverly Ray the following list of interpretations reflects the general consensus of historians:
The shape and posture of the bodies express protest.
Picasso uses black, white, and grey paint to set a somber mood and express
pain and chaos.
Flaming buildings and crumbling walls not only express the destruction of
Guernica, but reflect the destructive power of civil war.
The newspaper print used in the painting reflects how Picasso learned of
the massacre.
The light bulb in the painting represents the sun.
The broken sword near the bottom of the painting symbolizes the defeat of
the people at the hand of their tormentors. (Berger 1980; Chipp 1988)
In drawing attention to a number of preliminary studies, the so-called primary project, that show an atelier installation incorporating the central triangular shape which reappears in the final version of Guernica, Becht-Jrdens
and Wehmeier interpret the painting as a self-referential composition in the
tradition of atelier paintings such as Las Meninas by Diego Velzquez. In his
chef doeuvre, Picasso seems to be trying to define his role and his power
as an artist in the face of political power and violence. But far from being
a mere political painting, Guernica should be seen as Picassos comment
on what art can actually contribute towards the self-assertion that liberates
every human being and protects the individual against overwhelming forces such as political crime, war, and death.
35
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Do I remember? said the colonel. Oh, I do, I do! His voice trembled as he
shut up his eyes again. Everything! Except . . .which side I fought on . . .
The color of your uniform Charlie began.
Colors begin to run on you, whispered the colonel. its gotten hazy. I see
soldiers with me, but a long time ago 1 stopped seeing color in their coats
or caps. I was born in Illinois, raised in Virginia, married in New York, built a
house in Tennessee and now, very late, here I am, good Lord, back in Green
Town. So you see why the colors run and blend . . .
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But you remember which side of hills you fought on? Charlie did not raise
his voice. Did the sun rise on your left or right? Did you march toward Canada or Mexico?
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Seems some mornings the sun rose on my good right hand, some mornings over my left shoulder. We marched all directions. Its most seventy years
since. You forget suns and mornings that long past.
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The Civil War, suggested John Huff quietly. Does he remember that?
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Besides the huge monumental gates (the most famous are the
Lion Gate at Mycenae) fortress has had side gates, which were
easily hidden by shrubs and allowed to make sudden attacks
against enemies. Special attention was paid to water: a source
had to stay in the castle or secret tunnels had to be dug under
the walls so that people could get to the outside of groundwater resources during the siege.
There are about a hundred Mycenaean fortresses in Greece
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Air-raid shelter
Air-raid shelters, also known as bomb shelters, are structures
for the protection of the civil population as well as military
personnel against enemy attacks (bombing) from the air.
They are similar to bunkers in many regards, although they
are not designed to defend against ground attack (but many
have been successfully used as defensive structures in such
situations).
Prior to World War II, in May 1924, an Air Raid Precautions
Committee was set up in the United Kingdom. For years, little progress was made with shelters because of the apparently irreconcilable conflict between the need to send the
public underground for shelter and the need to keep them
above ground for protection against gas attacks. In February
1936 the Home Secretary appointed a technical Committee
on Structural Precautions against Air Attack. By November
1937, there had only been slow progress, because of a serious lack of data on which to base any design recommendations, and the Committee proposed that the Home Office
84
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Wehrwolf, Vinnytsia
Bundesarchiv, Frankreich,
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Bunker
A bunker is a defensive military fortification designed to protect the inhabitants from falling bombs or other attacks. Bunkers are mostly below ground,
compared to blockhouses which are mostly above ground. They were used
extensively in World War I, World War II, and the Cold War for weapons facilities, command and control centers, and storage facilities (for example,
in the event of nuclear war). Bunkers can also be used as protection from
tornadoes.
Trench bunkers are small concrete structures, partly dug into the ground.
Many artillery installations, especially for coastal artillery, have historically been protected by extensive bunker systems. Typical industrial bunkers
include mining sites, food storage areas, dumps for materials, data storage, and sometimes living quarters. When a house is purpose-built with a
bunker, the normal location is a reinforced below-ground bathroom with
fibre-reinforced plastic shells. Bunkers deflect the blast wave from nearby
explosions to prevent ear and internal injuries to people sheltering in the
88
bunker. Nuclear bunkers must also cope with the underpressure that lasts
for several seconds after the shock wave passes, and block radiation.
A bunkers doors must be at least as strong as the walls. In bunkers inhabited for prolonged periods, large amounts of ventilation or air conditioning
must be provided. Bunkers can be destroyed with powerful explosives and
bunkerbusting warheads. The crew of a pillbox can be killed with flamethrowers.
Bunker is a relatively recent addition to the English language to describe a
military structure. According to the Oxford English Dictionary it is a A military dug-out; a reinforced concrete shelter and its first use was 13 October
1939 A Nazi field gun hidden in a cemented bunker on the Western front
(War Pictorial). The word is German in origin and was used by the Germans
to describe bombproof shelters both above ground as in Hochbunker and
below ground as in the Fhrerbunker. All the early references to its usage in
the Oxford English Dictionary are to German fortifications. By 1947 the word
was familiar enough in English that Hugh Trevor-Roper in The Last Days of
Hitler was describing Hitlers underground complex near the Reich Chancellery as Hitlers own bunker without quotes around the word bunker.
89
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The pentagon
The Pentagon is the headquarters of the
United States Department of Defense, located in Arlington County, Virginia. As a symbol
of the U.S. military, the Pentagon is often
used metonymically to refer to the U.S. Department of Defense rather than the building itself.
Designed by American architect George
Bergstrom (18761955), and built by general contractor John McShain of Philadelphia,
the building was dedicated on January 15,
1943, after ground was broken for construction on September 11, 1941. General Brehon
Somervell provided the major motive power behind the project; Colonel Leslie Groves
was responsible for overseeing the project
for the U.S. Army.
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NATO Headquarters
International Treaty Organization Headquarters, Brussels
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Military Base
A-lab
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124
125
126
127
A-lab just won a competition to design a military base in Norway which will be situated
on the northern border with Russia. The design challenge was to create a cohesive complex where work and private life coexist, and
where military services meet the civil community.
More images and more about the winning
design after the break.
129
130
131
132
133
Moritzburg
The ancient castle of Moritzburg in the city of Halle is a very valuable
example of Gothic military architecture, typical of Germany at the end of
the 15th century. Its turbulent history has inevitably been reflected in the
many alternations it has undergone over the years. But despite these, the
building still keeps the original structure of its main architectural features:
the surrounding wall, three of the four round towers at the corners and the
central courtyard.
Architect: Nieto Sobejano Arquitectos, S.L.P.
Location: Halle, Saale, Germany
Project Team: Fuensanta Nieto, Enrique Sobejano, Sebastian Sasse (Project
Architect), Udo Brunner, Nina Nolting, Dirk Landt, Susann Euen, Siverin Arndt
Competition Collaborators: Vanesa Manrique, Nina Nolting, Olaf Syrbe,
Miguel Ubarrechena
Site Supervision: Nieto Sobejano Arquitectos S.L.P., Fuensanta Nieto, Enrique
Sobejano, Sebastian Sasse, Johannes Stumpf, Karl Heinz Bosse
Structural Engineer: GSE, Jorg Enseleit
MEP Engineer: Rentschler y Riedesser, Jrgen Trautwein
Models: Juan de Dios Hernndez-Jess Rey
Roof Construction Company: Dornhfer GmbH
Project Year: 2008
Photographs: Roland Halbe Fotografie
134
135
Puckapunyal
Military Area
Memorial Chapel
136
137
138
139
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